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Full text of "Film Bulletin (1950)"

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Scanned from the collection of 

The Museum of Modern Art Library 

Coordinated by the 

Media History Digital Library 

Funded by a donation from 
David Sorochty 

Digitized by the Internet Archive 

in 2014 


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OF M-G-M's 



The final returns are in. History has been 
written. Every regularly operated motion pic- 
ture theatre in the nation, of which there was 
a record, has flashed the M-G-M Lion on its 
screen during the Friendly Company's Anni- 
versary Year. Never an industry in the world 
until now in which every outlet has thus 
honored one product. With humility and grati- 
tude M-G-M thanks this industry of which it is 
proud to be a part. 

— * — 

M-G-M NIFTY IN 1950! 

Sailing right into the New Year with hits a-flying: 

"ON THE TOWN" (Technicolor) 
Breaking records at Music Hall and everywhere through the 


New special pre-release engagements confirm New York and 
Los Angeles verdict of box-office smash! 


Launched to the nation at State, N. Y. socko World Premiere! 


Continues its top spot as one of M-G-M's Biggest grossers 
of the year! 


Twenty holiday pre-release dates forecast big biz for M-G-M's 
BIG Western! 


Coast Preview riotously predicts "best Clark Gablehit in years!" 


Vol. 18, No. 1 January 2, 1950 

Page Five 


Conscience gets a lot of 
credit that belongs to cold feet. 

— Anon. 


flLM BULLETIN — An Independent Motion Picture 
Trade Paper published every other Monday by Film 
Bulletin Company. Mo Wax, Editor and Publisher. 
BUSINESS OFFICE: 75 West 45th St., New York, 
19; Circle 6-9159. David A. Bader, Business 
1239 Vine St., Philadelphia 7, Pa., Rltten- 
house 6-7424; Barney Stein, Managing Editor; Jack 
Taylor, Publication Manager; Robert Heath, Circu- 
lation Manager. HOLLYWOOD OFFICE: 659 Haver- 
'ord Ave., Pacific Palisades, Calif., Hillside 8183; 
lay Allen, Hollywood Editor. Subscription Rate: 
INE YEAR, $3.00 In the United States; Canada, 
J4.00; Europe, $5.00. TWO YEARS, $5.00 In the 
Initcd States; Canada, $7.50; Europe, $9.00. 


The noiseless foot of Time skips along so fast. Here we are, turned 
into the second half of this most eventful 20th century, anno Domini, and it is 
time to pause for a look into the crystal hall to see what are the portents for 
the world's greatest entertainment industry in the year ahead. 

We see an industry, cleansed in the crucible of the courts, enjoying an 
era of greater harmony and unity than ever before. With some of the basic 
irritants removed, exhibitor and distributor will start learning to live together 
in peace and in happier prosperity. 

The fruits of divorcement will ripen and flourish in 1950. The studios 
of the Big Five, rid of the enervating influence of their own circuits* automatic 
bookings, will steady themselves to the task of turning out product that will 
stand on its merits. 

Look, too, for a revival of showmanship. Under the leadership of alert, 
aggressive film merchandisers like M-G-M's Howard Dietz, 20th Century's 
Charles Einfeld, and Paramount's Max Youngstein. the spirit of the industry 
will again become electric with the kind of ballyhoo that enkindles the en- 
thusiasm of the ticket-buying public. Big campaigns like those on "Samson 
and Delilah." "Prince of Foxes" and "Battleground** will set the tempo in 
the year ahead. Other companies, sparked by the inspiration of these adver- 
tising leaders and by the necessity of coping with a more reluctant market, 
will be prodded to greater effort in showmanship, to the profit of themselves 
and their customers. 

With an independent exhibitor leader, A. F. Myers, finally - - and 
properly — at the helm of the industry campaign to abolish the unjust "war- 
time'* Federal excise tax on theatre admissions, there is promise of this happy 
event being realized. Mr. Myers' wide experience in legislative matters, backed 
by a unified industry, makes the prospect of favorable legislative action in 
1950 bright indeed. 

There will be further executive upheavals in Universal-International as 
this company strives to shake off the doldrums inflicted by two years of pro- 
duct mediocrity. U-I's plan to sell new stars will fail, if they seek to rely on 
the exhibitors alone to create these new stellar personalities without ample 
exploitation aid from the company itself. 

Herbert J. Yates, president of Republic Pictures, who knows a thing or 
two about creating new stars, will brighten the movie heavens with at least 
one, possibly two, new headliners in the westerns field this year. 

The 1950 film production derby will be a three-studio race between 
M-G-M, 20th Century-Fox and Paramount. They will produce more pictures 
than at any time in the past ten years, and more good ones. 

Television will grow by leaps and hounds as production of T\ receivers 
soars to around half-million per month and coaxial cables link all sections ol 
the country. There are already signs that the novelty of video wears thin 
alter a few months in the home and the people resume going out in quest of 
their entertainment. But television will continue to he a threat to the box 
office and. to combat it, the movie people will wed it to exploit their own 
product bj extensive use of trailers. 

Theatre television is clouded b\ too main imponderables to make it a 
factor of importance in 1950. 

Bailing some unexpected downward sweep of the economic trend, this 

should he a year of Steady, il Unspectacular, business lor the motion picture 

theatres. To a greater degree than in the past decade, the success of the film 
companies and ol the individual exhibitors will depend upon the talent ami 
the zest with which they perform their jobs of attracting the public. 

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Volume 18, Number 1 
January 2, 1950 

An* ws and Opinion 


The might of a united motion picture 
industry became apparent last week as 
COMPO's taxation and legislation com- 
mittee flexed its muscles preparatory to 
its bout with the House Ways and Means 
Committee for elimination of the Federal 
Admissions Tax. So impressive was the 
mobilization of the COMPO committee's 
plan to fight the tax that chairman 
Abram F. Myers had to issue a warning 
against overconfidence last week. 

"Much as I relish the enthusiasm of in- 
dustry members," Myers declared, "I 
feel I should warn them that it is not all 
over but the shouting. The legislative 
mill grinds slowly and anything can hap- 
pen during the process. The pending 
Forand Bill which would reduce some ex- 
cises but not the admission tax, and the 
proposed Dingell Bill which would reduce 
only the taxes on transportation and 
communications, warn us that if we re- 
lax our efforts even a little bit we may 
be left out in the cold." 
Joins Nafl Committee 

COMPO's alignment with the recently 
organized National Committee for Repeal 
of Wartime Taxes served notice that it 
would leave no stone unturned to get the 
tax repealed this year. The action was 
also seen as a means of safeguarding the 
film industry's interest within the nation- 
wide all-trade committee, and marks the 
first time the motion picture business has 
joined an inter-trade group for legislat- 
ive purposes. 

The MPAA's Eric Johnston will serve 
as a vice-chairman of the National Com- 
mittee. Other industry representatives 
will be Myers, Nicholas M. Schenck 
bpyros Skouras, Leonard Goldenson 
Harry M. Warner, Oscar Doob and Don- 
ald Henderson. The Committee is headed 
by Beardsley Ruml, Leon Henderson and 
other economy experts 
1950 Decides 

P° intir >g out that economists regard 
1950 as the year of decision for war 
taxes, Myers warned that "if the war- 
time excise taxes are not repealed by 
the present Congress, they may never be 
repealed in our time." He presented a 
three-pronged plan for the industry's 
campaign against the Federal admissions 

—Direct presentation of the industry's 
case to Congress through the COMPO 
tax committee. 

—Mobilization of the nation's theatre 
screens, movie personnel, exchanges and 
studios on both national and local levels 
through exhibitor-distributor committees. 

—Presentation of the industry's case to 
the public so that local authorities will 
not step in to replace the Federal tax 
with city and state levies. 

The committee's activities, Myers re- 
ported will receive stopgap financing for 
its present work through voluntary con- 
tributions to be repaid when the actual 
financing machinery begins operation 


"Legislative Mill Grinds Slowly" 

following approval of the organizational 
setup by constituent units. Myers 
pointed out that expenses presently will 
b? moderate. All individual services, ex- 
cept those of clerical personnel, will be 


Carrying its Board of Directors' bless- 
ing, Warner Bros, was pushing all efforts 
to conclude a consent agreement with the 
Government before the trial resumption 
on Jan. 17 in the industry anti-vrust case. 
That negotiations were well beyond the 
formative stage was implicit in the offi- 
cial release from the company that nego- 
tiations were progressing along the lines 
set up by the RKO and Paramount con- 
sent decrees, i.e., division of the company 
into two separate corporations. 

The contemplated consent agreement 
was more like the RKO decree in which 
all stockholders except principal stock- 
holder Howard Hughes received a share 
in each of the new companies in exchange 
for each share they held in the old com- 
pany. Hughes was required to sell his 
interest in either one or the other since 
he had a controlling interest. The three 
Warner brothers, Harry M., Albert, and 
Jack L., are in the same position, and, 
consequently, are currently negotiating 
for the sale of the stock which they will 
receive in the proposed new theatre cor- 

The Justice Department demands thai 
the Warners "shall either trustee their 
shares in one or the other corpora- 
tion in such a way as to lose all voting 
rights, or shall dispose of their stock in 

one or the other corporation to a pur- 
chaser who shall agree to hold such stock 
for a period of time to be approved by 
the Department." 

Although the principal prospective 
buyer of the Warners' 1,800,000 shares is 
Lehman Bros., a Wall Street investment 
house, several other groups were show- 
ing an interest in the theatre chain. It 
was expected that the price for the War- 
ner shares would approximate $20,000,000. 

Reportedly, the details of divorcement 
have been agreed upon. Current nego- 
tiations concern which theatres will have 
to be divested in order to open "closed" 
towns and to restore competition. 


Like an amoeba. Paramount Pictures 
Inc. split in two last Saturday. From 
one combined production-distribution-ex- 
hibition company, two completely auto- 
nomous corporations emerged, Paramount 
Pictures Corp., and United Paramount 
Theatres, Inc. The company had met 
its divorcement deadline right on sche- 

The new production-distribution com- 
pany, as expected, elected the same of- 
ficers as had governed the old company; 
Chairman of the board Adolph Zukor, 
executive committee chairman Stanton 
Griffis, president Barney Balaban, vice- 
presidents Y. Frank Freeman, Henry 
Ginsberg, Austin C. Keough and Paul Rai- 
bourn; treasurer Fred Mohrhardt, and 
assistant secretaries Russell Holman, Ja- 
cob H. Karp and Louis A. Novins. Henry 
Ginsberg continued as vice-president and 
general manager of studio operations and 
Y. Frank Freeman, vice-president at the 
West Coast studio. Paramount Interna- 
tional Films, Inc., maintained George 
Weltner as its president. 

The only change was formation of a 
wholly-owned subsidiary, Paramount 
Film Distributing Corp., with Alfred W. 
Schwalberg as president. The latter had 
formerly held the post of vice-president 
and general sales manager. 

All of the directors were renamed with 
the exception of those who went over to 
the theatre organization. In addition, 
Raibourn, Weltner and Mohrhardt were 
elected to the board. 

The new United Paramount Theatres 
also ran true to expectations. Leonard 
Goldenson became president; Walter 
Gross, vice-president and general coun- 
sel; Robert H. O'Brien, secretary-treasur- 
er; Si Siegle, comptroller, and J. L. 

(Continued on Next Page) 

REVIEWS in this Issue 

Twelve O'clock High 13 

Sands nl Iwo lima 13 

Tell ll to the Judge 13 

Man On the Eiffel Tower 1 1 

Ambush 14 

Blondle Hits the Jackpol U 

Side Street 16 

JXetvs ami Opinion 

(Continued from Preceding Page) 

Brown, assistant treasurer. Later this 
year, it was expected that Robert M. Weit- 
man and Edward L. Hyman would be 
elected to vice-presidencies. Weitman will 
head the company's Southern theatres and 
Hyman will be in charge of the Northern 

The new circuit began operations Jan- 
uary 1, 1950, with over 1100 theatres, 
about half of which are co-owned with 
other exhibition interests. It has until 
March, 1952 to dissolve these partner- 
ships, at which time it expects to have 
between 500 and 600 wholly owned 


The Government made its demands on 
divestiture proposals for the Griffith 
Amusement Co., southwestern theatre 
chain, and they were just as tough as 
those imposed on affiliated eorrnanies 
convicted of violation of the anti-trust 
laws. The comparatively light demands 
in the Schine case, which had led some 
to believe that the Justice Department 
was disposed to ease up on non affiliated 
circuits, was belied in the case of Grif- 

Almost half of all Griffith holdings 
were asked to be put on the block in the 
Government's brief filed in Oklahoma 
City Federal District Court. The thea- 
tres proposed to be divested were those 
allegedly acquired by "abuse of circuit 
buying power" as well as those to be 
sold in order to open "closed" towns. 

In addition to divestiture, the Govern- 
ment asked for a number of rigid in- 
junctions to forestall future rebuilding 
of the chain's power to restrain competi- 
tion. It cited the opinion of the Supreme 
Court showing that the Sherman Act 
had been violated "by the misuse of their 
circuit buying power in obtaining films, 
(and) has resulted in no change in the 
inability of competitors to obtain pic- 
tures from major distributors." Injunc- 
tions were asked to prevent the defend- 
ants, Griffith Amusement Co., Griffith 
Consolidated Theatres, R. E. Griffith 
Theatres, Westex Theatres, and Theatre 
Enterprises, from: 

— Combining with another corporate 
defendant or any exhibitor in licensing 
pictures, or from booking for any other 
theatre than those in which corporate 
defendants have financial interest. 

— Making franchise agreements, for- 
mula deals or master agreements, or 
knowingly obtaining discriminatory 

— Licensing films in competitive situa- 
tions for a five-year period, except where 
the picture is offered on competitive bid- 

Mutual ownership of stock, overlap- 
ping officers or directors, or any other 
means of influencing or controlling the 
activities of the other corporate defend- 

The number- of theatres to be divested 
approximated 90 divided between Griffith 
Consolidated and Theatre Enterprises, 
each of which was to give up some 45 

The recent sale of a large portion of 
its theatres to a group of former em- 
ployes may have some bearing on the 
final divestiture judgment. The Govern- 
ment brief had been prepared before the 
sudden sale a few weeks earlier and did 
not take any such action into considera- 


Lloyd T. Binford, the Memphis movie 
censor whose shears and "not approved" 
stamp have earned him the undying ani- 
mosity of the motion picture industry, 
finally met his nemesis in the Tennessee 
Supreme Court. It was ruled that Bin- 
ford "had no authority to ban the mo- 
tion picture 'Curley' because of the 
presence of Negro actors in the cast." 

Simultaneously, the UA-Hal Roach 
complaint questioning the Memphis Cen- 
sor Board's right to bar the film was 
thrown out by the Supreme Court on the 
grounds that Roach and UA were not 
denied freedom of speech simply because 
they are not motion picture exhibitors. 
In addition, the producers were denied 
the privilege of acting as plaintiffs be- 
cause they are not Tennessee corporations 
and therefore do not fall under the juris- 
diction of Tennessee law. 

The more significant purpose of using 
Binford's "Curley" ban as a test case of 

the authority of local censor boards was 
blocked by the tribunal's refusal to recog- 
nize the rights of Roach and UA to con- 
test the censorship. 

Commenting on the court's decision, 
Binford stated that no more motion pic- 
tures would be banned in Memphis be- 
cause of racial factors. 

The decision climaxed a two-year court 
fight against Binford and the powers of 
the Censor Board by UA and Roach, with 
the backing of the Motion Picture Asso- 


Universal's shakeup of its executive per- 
sonnel spread to the sales department. 
Coming on the heels of the realignment in 
the financial division, which saw the re- 
signation of J. Cheever Cowdin, Charles 
D. Prutzman and Samuel Machnovitz, and 
the elevation to vice-presidencies of 
(Continued on Next Page) 


Charlie Jones is a small-town exhibi- 
tor, a "one-horse operator" as he calls 
himself. His Dawn Theatre in Elma, 
Iowa (900 population) services the en- 
tertainment needs of a rural commu- 
nity and Charlie likes his work. 
Every month he prints up and sends 
out about two thousand calendars to 
the surrounding area. On the back 
of the calendar he usually includes a 
personal message to his patrons. 

Charlie attended the recent National 
Allied meeting in Minneapolis. He 
heard Ned Depinet talk about public 
relations, how important is the exhi- 
bitor's role in maintaining the public's 
respect and admiration for movies as 
their principal entertainment medium. 
Charlie, who had been doing just that 
all along as a matter of course, exact- 
ly like hundreds of other small town 
exhibitors, was very much impressed 
When he got back home, instead of 
his usual little message, he sent out 
a sort of open letter to his neighbors, 
the first in a series, telling them about 
what's right with the movies. He in- 
tended to send a copy to Ned Depinet, 
just as a suggestion of one thing that 
can be done by a movieman who likes 
and respects his business, but felt that 
his modest effort wasn't of much value 
and neglected to mail it off. A few 
weeks later, RKO salesman Sol Yea- 
ger dropped in, read Charlie Jones' 
open letter, and suggested he send it 
to Ned Depinet. When the chairman 
of the Conference Committee received 
the calendar with the letter on the 
back, he was so impressed that he had 
it reproduced and sent to the press. 
Here are some excerpts from Charlie 
Jones' open letter to his "Dear 

"First, a word about your exhibitor. 
I am in love — twice. I am. in love 
with my family and I am in love with 
my business. I probably don't make 
the most money in this community, 
but I challenge any man who is hap- 
pier in his work . . . 

"Probably there is no industry so 
much in the public eye in the press 
and radio. We get a lot of free bally- 
hoo for the consumption of fans, we 

get a lot of free bad publicity every 
time someone in the industry steps off 
the straight and narrow. We must 
take the bad with the good. But in 
no other industry are the actions of 
an individual used to condemn a whole 
industry. How many times I have 
heard that 'they ought to clean up that 
whole Hollywood gang.' Is the auto- 
mobile, steel or railroad industry con- 
demned because some mechanic or 
vice-president went off the straight and 
narrow? I don't defend the wayward 
individual, but believe me, the vast, 
predominate majority in this industry 
are good American citizens interested 
in making your life a little better 
through the best entertainment on 
earth . . . 

"Our industry has one hundred mil- 
lion critics each knowing how to make 
better pictures. We must please every 
nationality, community, race, creed, 
trade, craft and profession . . . Not all 
movies are hits any more than all 
books or plays a success. However, I 
can prove to you that more movies are 
successful than any other form of the 
arts. The charge that pictures have 
increased delinquency is no more valid 
than would be the outlawing of sulfa 
drugs because they produced harmful 
reactions in a few susceptible patients. 
Would you condemn sugar because it 
is bad for diabetics, or exercise be- 
cause it might strain an ailing 
heart? . . . 

"Hollywood is not a den of glamor- 
ous iniquity. To you, Hollywood means 
movies. Hollywood is churches, 
homes, stores, movie houses, dull peo- 
ple, interesting people, families and 
schools doing an admittedly glamorous 
job of bringing you joys, relief, en- 
lightenment and happiness for the 
modest price of your ticket . . . 

"Yes, I like my business. I'm serious 
about it and will be telling you more. 
It's more than just selling you a tic- 
ket. I firmly believe that not only are 
movies your best, but your cleanest, 
most enlightening, influential and 
cheapest entertainment. 

— Charlie Jones" 



Netvs and Opinion 

(Continued from Preceding Page) 

Adolph Schimel and Leon Goldberg, was 
the reshuffling by vice-president William 
A. Scully of his sales cabinet. 

Effective with the new year, Scully an- 
nounced, Charles J. Feldman will replace 
Fred Myers as Eastern Sales Manager. 
The latter had been a member of the 
sales cabinet and Eastern sales executive 
for the past eight years. Feldman comes 
to the new post after five years as Wes- 
tern sales manager, and before that, West 
Coast district manager. Peter Blake, 
moves up from the West Coast post to 
succeed Feldman as Western sales man- 

Other changes announced by Scully: 
Barney Rose, district manager for 
Portland, San Francisco and Seattle, takes 
on added duties and will supervise Los 
Angeles, Denver and Salt Lake City in 
addition to his present duties. 

Manny Gottlieb, Chicago district man- 
ager, will handle Chicago, Milwaukee, 
Minneapolis, Omaha and Des Moines; 
Joe Garrison will supervise St. Louis, 
Kansas City, Okla. City, Dallas and New 
Orleans; Peter Rosian will head the At- 
lanta, Charlotte, Cincinnati, Memphis and 
Indianapolis branches; Peter Dana will 
supervise Pittsburgh, Cleveland, Albany, 
Buffalo and Detroit; John Scully man- 
ages Boston, New Haven, Philadelphia 
and Washington, and David A. Levy will 
be district manager in New York. Dave 
Miller replaces Joe Gins as Buffalo branch 
manager. The latter, it was announced, 
will be given a new assignment in the 
near future. 


As it does each year-end, the "bests" 
medley was given the starting gun and 
in the first heat it was Columbia's "All 
the King's Men" for best picture Brod- 
erick Crawford, its star, for top actor; 
Olivia de Havilland, best actress for "The 
Heiress", (she took the award last year, 
too, for "Snake Pit"), and Carol Reed, 
best direction ("Fallen Idol"). 

The judges were 17 New York Film 
Critics and there were some strong dif- 
ferences of opinion before the heated 
balloting ended. The only selection to 
win on the first ballot was Italy's "The 
Bicycle Thief" for the best foreign lan- 
guage film. Closest voting was tor top 
film, best actor and best director, all of 
which had to go to the sixth ballot where 
a simple majority decides. The first five 
require a two-thirds vote. 

"King's Men" finally outdistanced its 
closest rivals, M-G-M's "Intruder in the 
Dust" and Selznick-Korda's "Fallen Idol". 
The balloting closed at 7-5-3, with one 
vote each for Film Classics' de Roche- 
mont production, "Lost Boundaries", 
Metro's' "Battleground", UA's Stanley 
Kramer production, "Home of the Brave", 
and two J. Arthur Rank British offer- 
ings, "Fame Is the Spur" and "Quar- 

Crawford triumphed over Sir Ralph 
Richardson ("Fallen Idol" and "The 
Heiress"), Juano Hernandez ("Intruder 
in the Dust"), Mel Ferrer ("Lost Bound- 
aries"), Michael Redgrave ("Fame Is the 
Spur") and James Whitmore ("Battle- 

Miss de Havilland received a two-thirds 
majority on the fifth ballot, with 12 votes 
to five for Dame Edith Evans, British 
actress, and Mercedes McCambridge 

("King's Men"). Also-rans were Lea 
Padovani, Nora Swinburne, Judy Holli- 
day and Deborah Kerr. 

For best director, initial ballot found 
a three-way tie between Reed, Clarence 
Brown ("Intruder in the Dust") and 
Robert Rossen ("All the King's Men"). 
Reed won out over Brown, 11-6. 


Confidential Reports, Inc., was given 
a clean bill of health by the Federal 
Trade Commission. Under investigation 
since the beginning of 1949, the checking 
organization, composed of all the major 
companies except M-G-M, announced that 
it had received word from the FTC in 
Washington that "on the basis of the 
facts disclosed by its investigation of the 
complaints fil3d against the company, it 
does not contemplate further proceedings 
in this matter." 

The probe, engendered by complaints 
from various exhibitors that CRI per- 
mitted exchange of information among 
its distributor members, was continued 
throughout the year, during which the 
entire operation of the organization was 
examined. The "informal investigation" 
included interviews with sales executives 
in an effort to determine whether there 
was any violation of FTC rulings The 
companies claimed that the only purpose 
of a mutually supported checking or- 
ganization like CRI was to effect economy. 
Individual checking operations, it was 
said, would be much more costly. 

Judging from the conclusion of the 
probe, that was good enough for the 


It was a merry Christmas weekend for 
first-run theatres generally, but Broad- 
way really chortled as it racked up some 
of the biggest grosses in years, and the 
greatest of these was Paramount's "Sam- 
son and Delilah," which in two theatres 
with a combined seating capacity of 5700 
enabled the film to set a new record of 
almost $200,000 for its first week on 
Broadway. The 3-day weekend alone was 
good for $112,000. The phenomenal 

gross, achieved at the Paramount and Ri- 
voli, outdistanced any previous attrac- 
tion at any one or two theatres and was 
the climax of a tremendous publicity 
campaign which culminated in the two- 
theatre world premiere Dec. 28th. 

It had to go some to do it, too, for the 
6,000-seat Radio City Music Hall with 
M-G-M's "On the Town" for its screen at- 
traction and the popular Nativity Christ- 
mas show on stage, also eclipsed its own 
record of last Easter with better than 
$170,000 for the week. 

The third Big Bertha was 20th Cen- 
tury-Fox's "Prince of Foxes," which had 
its star-studded debut on Thursday at the 
Roxy, with all receipts going to the 
United Hospital Fund. Beginning Fri- 
day, the film approximated $90,000 for 
the holiday weekend and was expected to 
near the $150,000 mark for its first week. 


Any doubts that 20th Century-Fox was 
going to drop its long-standing, pains- 
takingly-developed plans for theatre tele- 
vis'on and for its quota of TV channels 
we;e emphatically killed by Fox coun- 
sel Kenneth C. Royal 1. The reports were 
originally initiated with the advent of 
theatre divorcement. Last fortnight a 
report in a trade paper credited National 
Theatres president Charles P. Skouras 
with statements which indicated that 20th 
Century Fox was abandoning its theatre 
video project. The story spurred Fox 
president Spyros Skouras to authorize 
counsel to make an immediate denial 
that 20th-Fox was contemplating any 
such action. 

"There has been no thought of aban- 
doning this application," Royall declared, 
"but on the contrary every effort is be- 
ing mads to obtain a hearing before the 
Commission at as early a date as practi- 
cable." He added that statements to the 
contrary "erroneously credited to Mr. 
Charles P. Skouras are entirely incor- 

According to the 20th-Fox prexy, 
brother Charles' statement merely re- 
ferred to present home television as "not 
suited to theatre use." 

20th-Fox is petitioning the FCC for al- 
location of micro-wave channels which 
would link some 22 of the Fox-West Coast 
theatres into a theatre video chain, with 
large-screen TV as a supplementary at- 
traction to a regular film feature. 


Old Time llidlvhoo Breaks Records 

JANUARY 2 , 1950 


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Directed by ALLAN DWAN • Ass 




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AT exactly 11:59 on December 31st, mil- 
lions of radio listeners learned that 
20th Century-Fox has a picture called 
"Twelve O'Clock High" via a lulu of 
stunt, a real once-in-a-lifetime opportunity, 
which Fox radio manager Alfred Palca 
cashed in beautifully. At one minute be- 
fore the second half of the century be- 
came reality, an announcement blanketed 
the nation over 1094 radio stations, be- 
ginning, "It's coming! Twelve O'Clock 
High! In just 60 seconds it will be Twelve 
O'Clock High . . .", and continued for a 
full minute, plugging the film with ten- 
second breaks to announce the time left 
before midnight, with the final, windup, 
"It's Twelve O'Clock High! Happy New 
Year!" Knowing the millions of ears tun- 
ed to the radio to catch the exact stroke 
of midnight, Palca engineered and exe- 
cuted the mammoth time-buy to reach 
every nook and cranny of the U. S., and 
set up the exciting announcement. A doff 
of the chapeau to Al Palca for answering 
when opportunity knocked. 

IJROADWAY was struck by lightning 
twice in two days, and that, brother, is 
history for the Great White Way. The 

CECIL B DeMILLE S masterpiece 



m person RUSS CASE * orchestra 


Broadivay . . . 

debut of two epics on consecutive days 
with a fanfare reminiscent of all the tur- 
bulent glory of pre-war star-studded, cele- 
brity-laden premieres blitzed the Main 
Stem on Wednesday, December 21, and 
Thursday, December 22. The first was a 
two-theatre unveiling of C. B. DeMille's 
"Samson and Delilah" and before the pal- 
pitating crowds had a chance to catch 
their breath, 20th Century-Fox's "Prince 
of Foxes" had them all agog again. 

"Samson" jammed Times Square with 
a flood of humanity seen only on New 
Year's Eve when it opened at the Rivoli 
and Paramount Theatres. Massive search- 
lights, newsreel and television cameras, 
Mutual network microphones, combined 
to carry the event to every part of the 
country. Top Paramount stars did a radio 
broadcast from Hollywood. Hedy Lamarr 
"doubles," dressed in "Delilah" flimsies 
distributed souvenir programs, while 
American Airline hostesses handed out a 
plane load of orchids flown in specially 
from Hawaii. And the hundreds of cele- 
brities made the lucky purchasers of gen- 
eral admission tickets gape. 

The "Prince of Foxes" shindig the fol- 
lowing night at the Roxy, which had clos- 

ed down all day to prepare for the festivi- 
ties, was equally eye-filling. Sponsored 
by the United Hospital Fund, the premiere 
had a "Celebrity Lane" down which diplo- 
mats, government, social and civic leaders 
poured into the theatre, 200 uniformed 
nurses paraded up Seventh Avenue, the 
Italian Folk Society, in native costumes, 
performed inside the Roxy. Some 5,000 
carnations, flown in from Rome as a tri- 
bute by the Italian government to the 
picture flooded the lobby, with all except 
10C0 going to hospitals. Those held out 
went to the first thousand women attend- 
ing the regular opening performance the 
next morning. A unique highlight of the 
proceedings was the appearance of a blue- 
pearl fox, flown in from Denver and es- 
corted by luscious model Betty Sherry. 
Lest the SPCA raise a fuss, Fox publicity 
manager David Golding made it clear that 
the animal would immediately be returned 
to Denver "for production conferences 
with his stablemates." 

* * 

WILLIAM A. SCULLY believes that ex- 
hibitors would do themselves, as well 
as the industry, a lot of good if they help 
sell the new faces which have been ap- 
pearing in Universal pictures to the pub- 
lic. "Since its inception, our industry has 
been built in large part on personalities," 
the U-I sales chief declares. "While the 
quality of motion pictures is paramount, 
we cannot overlook the fact that star per- 
sonalities have a tremendous influence 
on box office returns." Scully sees a dis- 
tinct need for the industry to "concen- 
trate" on developing new star personali- 
ties — "we cannot depend on the already 
established stars to carry the load indefi- 
nitely." The producers are engaged in an 
intensive new-face hunt and campaign to 
sell the newcomers, but they can't do the 
job alone, he says. "It requires the active 
assistance of exhibitors on their own local 

Universal is marking the start of 1950 
with "World Premiere Month," featuring 
the debuts of three of its top budget pic- 
tures of the new year. On the 7th, "Wom- 
an in Hiding" has its world premiere in 
Buffalo; on the 12th, "South Sea Sinner" 
will be unveiled in St. Louis and on the 
24th and 26th, "Borderline" makes its bow 
in Denver and Salt Lake City. All will 
be launched in the territorial saturation 
manner with stars Shelley Winters 
("South Sea Sinner") and Claire Trevor 
(co-starring with Fred MacMurray in 
"Borderline"), producers Milton H. Bren 
and William A. Seiter making the rounds 
with p.a.'s throughout the areas. 

* * 

CAGLE LION set off the biggest pub- 
licity and exploitation campaign in its 
history last Tuesday (27th) with a dinner 
staged by the Overseas Press Club of 
America for a thousand outstanding civic, 
diplomatic and religious leaders and top 
film executives at the Waldorf-Astoria. 
The affair marked the opening gun in the 
advance campaign for "Guilty of Trea- 
son," the Jack Wrather-Robert Golden film 
based on the trial of Cardinal Mindszenty. 
Covered by all local newspaper and wire 
service editors, it was assured a big play 
in the press, with the proceedings broad- 
cast nationally over radio and video net- 
works and the Voice of America carrying 
it throughout the entire world in 27 lan- 
guages. Speakers and guests were head- 
ed by Cardinal Spellman, Archbishop of 
New York, State Secretary Dean Acheson, 
Mrs. Franklin D. Roosevelt, Senator Her- 
bert Lehman, Governor Thomas Dewey 
and a host of other public luminaries. In- 
dustryites on hand had top-drawer execu- 

tives from the film companies, exhibitor 
groups, and production leaders. E-L ad- 
publicity topper Leon Brandt has chosen 
' Guilty of Treason" as the initial film to 
inaugurate his new "task-force" method 
of promotion to pre-sell the picture on an 
area-wide field exploitation basis. 

* » 

l—FERE'S an exploitation stunt, a varia- 
tion of the old "summons" gag, that 
proved an overwhelming success when 
Allied Artists' "Stampede" had its first-run 
showing in Pittsburgh at three drive-in 
theatres. Numbered cards were printed 
up to resemble official Pittsburgh traffic 
violation tickets and spotted on parked 
automobiles all over town. Imagine the 
driver's feelings ranging from dismay at 
the first sight of the "ticket" to joyous re- 
lief as he reads, "Notice of NO Traffic 
Violation — Subject to a Fine Evening's 
Entertainment" and so on, listing the at- 
traction, playclate and theatres. It didn't 
stop there, of course. There was plenty 
of word-of-mouth afterwards as the driv- 
ers told their friends, "Gosh, a funny 
thing happened to me today . . ." and dis- 
played the throwaway. An added gim- 
mick was free admission for holders of 


. . . Was Blitzed 

lucky numbers corresponding to lists dis- 
played on box offices. The stunt is so 
sure-fire, ad-publicity-exploitation head, 
Lou Lifton is recommending it to all Mon- 
ogram-AA exchanges for future first runs 
of Allied Artists product. 

* * 

r\F MEN AND THINGS: Dan Michalove, 
^-^ vice president of National Theatres 
Corp., died in New York Dec. 22 of a 
heart attack. He was 56 . . . The TOA 
annua] mid-winter directors' meeting is 
set for the Mayflower Hotel in Washing- 
ton, D. C, Jan. 11-12. The TOA toppers 
are due to tackle such topics as ratifica- 
tion of TOA's participation in COMPO; 
tax relief campaign and TOA's application 
for al'ocation of theatre television chan- 
nels . . . 20th-Fox's Andy W. Smith was 
elected unanimously chairman of the in- 
dustry's National Distributors' Committee 
for 1950. He succeeds Columbia's Abe 
Montague . . . United Theatre Owners of 
Illinois has scheduled its annual conven- 
tion for the Abraham Lincoln Hotel in 
Springfield, Feb. 9-10. Gael Sullivan, Her- 
man Levy and Bob O'Donnell are slated 
for speeches at the confab. 



... to meet CINDERELLA . . your boxoffice 
sweetheart for 1950 . . . and to date her for 
plenty of your best playing time. 


ALBANY, Fox Screening Room, 1052 
Broadway, Tues., January 1 7, 8:00 P.M. 

ATLANTA, RKO Screening Room, 195 
Luckie St., N.W., Tues., January 17, 
2:30 P.M. 

BOSTON, RKO Screening Room, 122-28 
Arlington St., Tues., January 17, 10:30 

BUFFALO, Mo. Pic. Operators Screening 

Room, 498 Pearl St., Tues., January 

17, 2:30 P.M. 
CHARLOTTE, Fox Screening Room, 308 

S. Church St., Tues., January 17, 2:00 


CHICAGO, RKO Screening Room, 1300 
So. Wabash Ave., Tues., January 17, 
2:00 P.M. 

CINCINNATI, RKO Screening Room, 12 
East 6th St.Jues., January 1 7, 8:00 P.M. 

CLEVELAND, Fox Screening Room, 221 9 
Payne Ave., Tues., January 17, 2:30 

DALLAS, Paramount Screening Room, 
412 South Harwood St., Tues., Janu- 
ary 17, 2:30 P.M. 

DENVER, Paramount Screening Room, 
2100 Stout St., Tues., January 17, 2:30 

DES MOINES, Fox Screening Room, 
1300 High St., Tues., January 17, 1:00 

DETROIT, Blumenthal's Screening Room, 
2310 Cass Ave., Tues., January 17, 
2:30 P.M. 

INDIANAPOLIS, Universal Screening 
Room, 517 N. Illinois St., Tues., Janu- 
ary 17, 1:00 P.M. 

KANSAS CITY, Paramount Screening 
Room, 1800 Wyandotte St., Tues., 
January 17, 2:00 P.M. 

LOS ANGELES, RKO Screening Room, 
1980 So. Vermont Ave., Tues., Janu- 
ary 17, 2:30 P.M. 

MEMPHIS, Fox Screening Room, 151 
Vance Ave., Tues., January 17, 2:00 

MILWAUKEE, Warner Screening Room, 
212 W. Wisconsin Ave., Tues., Janu- 
ary 17, 2:30 P.M. 

MINNEAPOLIS, Fox Screening Room, 
1015 Currie Ave., Tues., January 17, 
2:30 P.M. 

NEW HAVEN, Fox Screening Room, 40 
Whiting St., Tues., January 17, 2:00 

NEW ORLEANS, Fox Screening Room, 
200 S. Liberty St., Tues., January 17, 
10:30 A.M. 

NEW YORK, Normandie Theatre, 53rd 
St. & Park Ave., Tues., January 17, 
10:30 A.M. 

OKLAHOMA CITY, Fox Screening 

Room, 10 North Lee St., Tues., January 

17, 10:30 A.M. 
OMAHA, Fox Screening Room, 1502 

Davenport St., Tues., January 17, 1:00 


PHILADELPHIA, RKO Screening Room, 
250 N. 13th St., Tues., January 17, 
2:30 P.M. 

PITTSBURGH, RKO Screening Room, 

1 809-1 3 Blvd. of Allies, Tues., January 

17, 1:30 P.M. 
PORTLAND, Star Screening Room, 925 

N.W. 19th Ave., Tues., January 17, 

2:00 P.M. 

ST. LOUIS, RKO Screening Room, 3143 

Olive St., Tues., January 17, 2:30 P.M. 
SALT LAKE CITY, Fox Screening Room, 

216 E. 1st St. South, Tues., January 

17, 1:30 P.M. 

Room, 251 Hyde St., Tues., January 

17, 2:30 P.M. 
SEATTLE, Jewel Box Screening Room, 

2318 2nd Ave., Tues., January 17, 

2:30 P.M. 

SIOUX FALLS, Hollywood Theatre, 212 

North Philips Ave., Tues., January 17, 

10:30 A.M. 
WASHINGTON, Fox Screening Room, 

932 New Jersey Ave., Tues., January 

17, 2:30 P.M. 




Iii Our Mail Box 

2011 Vi Jackson Street 
Dallas, Texas 

Mr. Mo Wax, Editor 

Dear Mo: 

I have been noting recently a tendency 
in your picture reviews which, frankly, 
I criticize. To put it more specifically, 
you seem to be going "high brow" on us. 

Of course, I must admit that I am 
probably prejudiced, Texas being notori- 
ously a "low brow" state. But my ex- 
perience has brought home to me that 
while Texas may be an extreme example, 
the tendency here is far closer to the 
grass roots than the great and populace 


83 minutes 

Farley Granger, Cathy O'Donnell, James 
Craig, Paul Kelly, Jean Hagen, Paul 
Harvey, Edmon Ryan, Charles McGraw, 
Ed Max, Adele Jergens, Harry Bellaver. 
Directed by Anthony Mann. 

"Side Street," a suspenseful melo- 
drama expounding the familiar crime- 
does-not-pay doctrine, offers enough viol- 
ence and moves at a fast enough pace 
to insure representative grosses in those 
situations where action fans predomin- 
ate. A rather involved plot, however, 
and the lack of potent marquee names 
reduce it to supporting feature status 
in better class houses. Some unusual 
and exceptionally fine camera work in 
the filming of New York's side streets 
by photographer Joseph Ruttenberg, un- 
der Anthony Mann's able direction, pro- 
vides a welcome touch of realism as well 
as an authentic background for this Sam 
Xirnbalist production of a story and 
screenplay by Sydney Boehm. 

Farley Granger and Cathy O'Donnell, 

who clicked as the young fugitives in 
"They Live By Night," find themselves 
together in another youthful husband- 
and-wife role. Granger excels as a pen- 
niless expectant father, who strolls from 
the straight-and-narrow and quickly re- 
grets his indiscretion. In the lesser part 
of his ever-loving wife who is momen- 
tarily due at the maternity ward, Miss 
O'Donnell turns in another appealing 
performance. The lesser names in the 
supporting cast contribute praiseworthy 
efforts. Particularly impressive are 
James Craig as the extortionist who 
shows sadistic pleasure in choking the 
life out of anyone that crosses him, and 
Jean Hagen as the loosely imbibing 
honky-tonk singer who leads Granger 
across Craig's path. 

STORY: Part-time mail carrier Farley 
Granger, unable to pay for the maternity 
care of his expectant wife, Cathy O'Don- 
nell, steals a portfolio containing what 
he believes to be $200 from an office on 
his delivery route. When he discovers 
he has taken $30,000, the sum cached 
there by James Craig and Edmon Ryan, 
a murderous pair of extortionists, Gran- 

a first run in a very large theatre in 
Port Arthur, Texas, where the picture 
did less than 50 per cent of average 

I am sending this to you because I 
think you are intelligent enough to give 
the matter considerable thought and be- 
cause your reviews I find, as a rule, to 
be very worthwhile. What do you think 
about it? 

Yours very truly, 

/s/ H. A. COLE 

1709 Colvin Blvd. 
Kenmore 17, N. Y. 

Mr. Mo Wax, Editor 

Dear Sir: 

Your "Joe Exhibitor" should get hold 
of the latest copy of Boxoffice (if you'll 
pardon the expression). This week's edi- 
tion features (in the "Barometer" sec- 
tion) the results of a poll they have just 
conducted. Mademoiselles Bergman and 
Hayworth, big-shots in the gossip columns 
of the past year, have tumbled way down 
in popularity; Bergman from first in fe- 
minine group last year to fifth spot this 
year; Hayworth from fifth place in last 
year's feminine group to twenty-fourth 
position this round. 

Have him take another look at the top 
of the list of screen favorites (men and 
women) - Crosby • June Allyson - Loretta 
Young - Olivia deHaviland - Clark Gable - 
Cary Grant - Gary Cooper - Bop Hope — 
ALL model citizens! 

Sure, this biz needs a public relations 
program. But, if you could convince the 
public that Hollywood big-wigs lead good, 
clean, God-fearing lives — as I know you 
can't — then a public relations program 
would be totally unnecessary. 


ger becomes panicky. He makes a pack- 
age of the money, leaves it in the care 
of barkeep Ed Max in the guise of a 
present for Miss O'Donnell, and goes 
into hiding. Max switches packages and 
sells his taproom, while Granger pleads 
with Ryan to take back the money, which 
the latter cautiously denies was ever 
stolen. When Ryan is convinced that 
Granger is sincere, he sends Craig after 
him. Granger gives Craig the dummy 
package and after a beating tells Craig 
about Max. Craig kills Max, takes the 
money, leaving Granger suspected of 
murder. Rather than work with the 
police, Granger tries playing detective 
himself. He picks up Craig's ex-sweetie, 
Jean Hagen, who leads him into Craig's 
hands. For security reasons, Craig 
throttles Miss Hagen, stows her body 
into a cab driven by his stooge, Harry 
Bellaver, and sets out for the river with 
Granger, whom he also intends to 
strangle. Their trail is picked up by 
narrator-detective Paul Kelly and Charles 
McGraw, and Craig is killed after a wild 
chase through the side streets of Man- 
hattan. TAYLOR. 

To get down to brass tacks, in your 
issue November 7, you give the follow- 
ing ratings: THAT FORSYTE WOMAN 
• • •, BEYOND THE FOREST • • » — , 


In my belief, the first two pictures are 
boxoffice poison, and I don't mean only 
in what you call the action houses. I 
did not get the opportunity to screen 
FORSYTE WOMAN, but I did see BE- 
YOND THE FOREST, and for the third 
time in my career I walked out on it. 
The third picture is, in my opinion, a 
boxoffice natural. 

1 know the tendency both in newspaper 
and in trades paper critics to stress the 
fact that motion picture business should 
grow up and especially should attempt 
to get as patrons those whom perhaps 
we miss at present, who might be called 
adult minded; but as I see it, if the mo- 
tion picture business starts to cater to 
the 20 per cent who might be put in this 
latter category, we will succeed in alien- 
ating the 80 per cent constituting our 
meat and bread. We are a commercial 
enterprise in this industry and cannot 
afford to drive away from our theatres 
the large body of patrons which consti- 
tute the backbone of our business. 

I don't mean by this at all that we 
should not produce pictures of a better 

and finer class. Occasionally experiments 
are necessary and desirable, but those 
experiments should be handled intelli- 
gently, mixing some showmanship in so 
that we could satisfy our present patrons 
and at the same time gain slowly, a few 
at a time, the "higher" classes. Cer- 
tainly, in my opinion, we cannot afford 
to make pictures (and I could name 
dozens of them) which send our movie 
patrons home with a desire to take a 
chaser of prussic acid. 

I had the opportunity while in Min- 
neapolis to have quite a talk with that 
charming fellow Carey Wilson, producer 
for Metro. The discussion came up with 
him over his picture just being released, 
THE RED DANUBE. I expressed to him 
these same thoughts and told him that 
in my belief RED DANUBE would be a 
flop at the boxoffice. He contested this, 
but asked me to send him results in the 
runs down here in Texas. As soon as 
we get these, I intend to do this, of 
course. The only one I have to date is 


Rates • • + in action houses; less elsewhere 




Ratos » • • generally 

20th-century Fox 
132 minutes 

Gregory Peck, Hugh Marlowe, Millard 
Mitchell, Dean dagger, Robert Arthur, 
Paul Stewart, John Kellogg, Bob Patten, 
Joyce MacKenzie. 
Directed by Henry King. 

There have been many pictures salut- 
ing the brave record of the Army Air 
Forces, but none quite as fine as "Twelve 
O'Clock High." It will win resounding 
critical praise and the boxoffice returns 
should be top flight. This is powerful, 
personal drama of emotions strained to 
the breaking point in the crucible of war. 
And it is completely authentic in every 
casual detail of word, gesture and back- 
ground, as it depicts the lives of the hag- 
gard men who first flew daylight bomb- 
ing missions out of England in '42. Its 
superb quality might be anticipated from 
the names of the men concerned in its 
making: first, there is studio chief Darryl 
Zanuck, who invests the production with 
superb authenticity and authority; then 
director Henry King, who gives it firm, 
dramatic integrity and maintains his illus- 

trious reputation as a director of hits; 
and finally, Gregory Peck, who gives a 
magnificent performance as the indomi- 
table "General Savage." This is a pic- 
ture, intelligently conceived and effective- 
ly executed, which leads the current crop 
of war pictures. 

The magnetic presence of Peck should 
offset any hazard in the fact that the cast 
is all-male. He delivers the goods. And 
his exhaustive, multi-faceted performance 
is one that certainly merits an Oscar. 
The 20th-Fox tub-thumpers are giving 
this film a strong campaign that should 
push it along to high grosses in all situa- 

The aerial combat scenes, spliced with 
captured footage from the German Luft- 
waffe, are the very ultimate in thrills. 
The script by Sy Bartlett and Beirne Lay, 
from their own novel, contains some solid 
"think" stuff and shows a penetrating in- 
sight into the psychology of morale. The 
running time (132 min.) is somewhat too 
long and, in realistically reflecting the 
crushing monotony of war, the picture it- 
self lacks a change of pace. The excel- 
lent supporting cast comes up with sev- 
eral surprise performances, notably Dean 


Rates • • • — generally 

110 minutes 

John Wayne, John Agar, Forrest Tucker, 
Adele Mara,, Julie Bishop, Richard Webb. 
Directed by Alan Dwan. 

This huge, sprawling story of the Ma- 
rines at war in the Pacific, recounting 
pictorially two of its bloodiest battles, is 
quite the most impressive production 
ever to come from the Republic Studios. 
Unfortunately, neither the story, nor the 
staged battle scenes measure up to the 
real thing — the actual war scenes - 
and this desti'oys some of the picture's 
impact. Grosses, however, should be 
good in all but the class houses. With 
an open-handed disregard for budgetary 
restrictions, it utilizes tremendous pan- 
oramic sets, tons of military equipment 
and sets off enough blasts of explosive 
to blow up a Boulder Dam. And adding 
to the spectacular impact and surging 
strife of battle are the exciting shots of 
actual combat, photographed by the Sig- 
nal Corps and woven into the action. 
These battle scenes, plus the re-enact- 
ment of the famous flag-raising at Mt. 

Suribachi, make "Sands of Iwo Jima" a 
fine tribute to the heroic leathernecks. 

The picture boasts a strong boxoffice 
ace - - John Wayne. Recently dubbed 
"the hero of Main Street," he's a big man 

- big in stature and big in boxoffice 
draw. And right now on the crest of his 
popularity, his name gives the film a 
powerful boost. 

"Iwo Jima" misses being a really great 
war drama, because the accompanying 
narrative doesn't match the scope of the 
spectacular production. The dialogue, 
unfortunately, is definitely not inspired 
and some of the basic situations lack con- 
viction, as the personal problems of the 
individuals dwindle to puny significance 
beside the overwhelming effect of mass 
heroics. Also, the inclusion of a trite 
romantic angle, though obviously box- 
office bait for the feminine patronage, 
seems to weaken the picture's ultimate 

Wayne dominates almost every scene 
with his burly masculinity, but the sur- 
rounding cast is not very impressive. 
John Agar seems rather colorless in his 
role of a recalcitrant Marine, while For- 

Jag.^er, as the wise "retread" and stage 
recruit Gary Merrill. 

STORY: This British-based bomber 
squadron, known as a "hard luck outfit," 
is suffering heavy casualties. The men 
have reached the limit of their endurance 
and so has their Colonel, Gary Merrill. 
His superior, Gregory Peck, recognizes 
the symptoms of "over-identification" and 
recommends his transfer to Millard Mit- 
chell. Peck himself takes over command 
and immediately initiates a harsh and 
rigorous discipline. He pushes the men 
relentlessly and, for the affectionate lo- 
yalty the men had for Merrill, he substi- 
tutes a hatred toward himself and the 
fear of disgrace. Every one of the pilots 
promptly puts in a request for transfer; 
Peck asks Major Jagger to "sit" on the 
papers until they change their minds. 
Gradually morale is built up and the 
bombers, with crack efficiency, are de- 
molishing enemy industrial targets. But 
Peck is driving himself as well as his 
men and the strain is too much. Before 
taking off on a mission he suddenly has 
a complete physical and mental collapse. 
He sits in a dazed coma until his men 
return safely to base. ABRAMS. 

rest Tucker and the other rough-necks 
in the rifle squad give standard perform- 
ances. The only feminine members of 
the cast, Adele Mara and Julie Bishop, 
perform their small duties effectively. 

STORY: In a training camp in New 
Zealand, the Marine rifle squad is saddled 
with a mean, tough sergeant - John 
Wayne. He rides them hard and whips 
them into shape by rough tactics. Tne 
men hate Wayne, especially his old rival, 
Forrest Tucker, and John Agar, who is 
resentful of discipline. Agar meets a 
local girl, Adele Mara, and marries her 
before the outfit shoves off for Tarawa. 
There in the heat of battle, Wayne's 
training stands the men in good stead 
and he him»self heroically knocks out a 
Jap bunker with a well-aimed grenade. 
On rest leave in Honolulu, Wayne has a 
brief interlude with a bar-hustler, Julie 
Bishop. Then comes Iwo Jima. It is 
a raging holocaust with many casualties, 
culminating in the famous flag-raising. 
Ironically, during a lull in the fighting, 
Wayne is killed by a stray sniper; and 
Agar learns to value the glorious tradi- 
tion of the Marines. YORK. 


Rates • • + as dualler on name values; 

87 minutes 

Rosalind Russell, Robert Cummings, Gig 
Young, Marie Mcdonald, Harry Daven- 
port, Fay Baker, Katharine Warren, 
Douglass Dumbrille, Clem Bevans, Gran- 
don Rhodes, Louise Beavers, Thurston 

Directed by Norman Foster. 

A mildly amusing comedy. This Col- 
umbia offering goes in heavily for slap- 
stick to gloss over the far-fetched and 
labored farce scripted by Nat Perrin 
from a story by Devery Freeman. Nor- 
man Foster's direction forces the situa- 
tions too obviously to produce the de- 


.g. for action spots 

sired com ( ic effect, with the result that 
discriminating audiences are apt to find 
it far less than hilarious. 

This, despite the fact that Rosalind 
Russell and Robert Cummings do trojan 
work to keep the threadbare plot rolling 
along. Grosses will be par for nabor- 
hood houses, but it is n.g. for action 
spots and rural situations. 

Miss Russell repeats her now familiar 
role of a witty sophisticate, this time as 
a judge whose escapades take her beyond 
the realm of her high public office. Her 
wardrobe, as usual, will win ahs! from 
the feminine contingent. Cummings 
goes through some strenuous slapstick 
Km tines for his "art," while Gig Young 
makes an attractive playboy. Marie 
McDonald and Harry Davenport afford 

good support. 

STORY: Rosalind Russell, a judge-in- 
waiting for a Federal court appointment, 
is divorced from lawyer Robert Cum- 
mings. The divorce is caused by Marie 
McDonald, retained by Cummings as a 
case witness, who shows up at the right 
places at the wrong time. Cummings 
follows his ex-wife to Florida in an ef- 
fort to win her back and under roman- 
tic influences, remarries her. When Miss 
McDonald shows up on their wedding 
night. Miss Russell leaves for the Adiron- 
dack mountains. She introduces Gig 
Young, a visitor, as her new husband, 
but confusion results when Cummings 
arrives. Miss Russell finally gets to the 
truth about the witness and is reunited 
with her yearning husband. GRAN. 

JANUARY 2, 1950 

1 3 


Rates • • + as dualler 

BKO (A & T Film Productions) 
97 minutes 

Charles Laughton, Franchot Tone, Bur- 
gess Meredith, Robert Button, Jean Wal- 
lace, Patricia Boc, Belita, George Thorpe, 
William Phipps, William Cottrell, Chaz 
Chase, Wilfred Hyde White. 
Directed by Burgess Meredith. 

"The Man on the Eiffel Tower" is quite 
an unusual picture. This "different" 
flavor sets it well above the run-of-the- 
mill and, since it is complemented with 
excellent acting and direction, it should 
attract slightly above average grosses, 
although it will require support in most 
theatres. It is not the story that is so 
unusual, being a standard police-and- 
killer chase, adapted from "A Battle of 
Nerves" by the French whodunit writer, 
Georges Simenon. And the fact that 
most of it was photographed on location 
in city streets is by now a stock device 
for such thrillers. But, in this instance, 
the city is Paris. And in the course of 
an exciting man-hunt, we get a veritable 
Cook's Tour of Parisian purlieu, its 
streets and characters, swank night spots 
and murky bistros in the Place Pigalle. 

It is mostly this colorful background 
that gives the picture its cosmopolitan 
distinction. This is a good program 
topper, not only as a change of movie 
fare, but as an exciting, tantalizing 
thriller. It should be coupled with a 
comedy or musical feature. 

From a technical viewpoint, this Irving 
Allen-Franchot Tone production is inter- 
esting as an unveiling of the new color 
process by Ansco, used in the DeBrie 
camera. And, despite a few imperfections 
in some out-door shots, the verdict is — 
very good. Burgess Meredith, trying his 
hand at directing, turns in a very classy 
job, as well as giving a convincing in- 
terpretation of the ignorant scissors- 
grinder who becomes an unwitting pawn 
in murder. Charles Laughton, as the 
implacable detective, gives the role full 
benefit of his flamboyant theatrics and 
Franchot Tone is exceptionally impres- 
sive as the psychopathic killer. The idea 
of having the killer, in mad bravado, 
stalking the detective is an intriguing 
twist. Robert Hutton, Jean Wallace and 
Patricia Roc are also commendably 

STORY: Robert Hutton wishes his rich 
aunt were dead so that he could have 

the money to divorce his wife, Patricia 
Roc, and marry an expensive blonde, 
Jean Wallace. Franchot Tone, a brilliant 
and depraved medical student, offers to 
do the job — for a price. He fakes a 
robbery of the aunt's house with Burgess 
Meredith as his accomplice and the lat- 
ter blindly stumbles across her recently 
murdered body. With his hands bloody 
and his broken glasses found at the 
scene, Meredith is quickly and easily 
captured. But Charles Laughton, the 
police inspector, is wary of such a sim- 
ple solution. He sets out to trap Tone 
by letting Meredith escape from prison. 
Meredith eludes his pursuers and is se- 
creted away by the killer. Hutton com- 
mits suicide and Tone, with diabolic 
cleverness, tries to get the two girls to 
kill each other. Laughton finally locates 
Meredith and his cat-and-mouse game 
with Tone culminates in a chase through 
Paris and up the Eiffel Tower. Tone is 
prepared to make a spectacular plunge 
lrcm the top, but Laughton deliberately 
refuses to watch him. Without an audi- 
ence, Tone loses his nerve and meekly 
surrenders to face the guillotine. 


Rates * • * for ac'ion houses; slightly less elsewhere 


89 minuses 

Robert Taylor, -John Hodiak, Arlene Dahl, 
Don Taylor, Jean Hagen, Bruce Cowling, 
Leon Ames, John Mclntire, Pat Molari- 
ty, Charles Stevens, Chief Thundercloud, 
Bay Teal, Bobin Short, Bichard Bailey. 
Directed by Sam Wood. 

"Ambush," produced and directed by 
the late Sam Wood, is a first-rate west- 
ern. Packed with robust action, splen- 
didly photographed and profuse in scenic 
detail, it captures the colorful flavor of 
perilous frontier days when rampaging 
Apaches rode the war path against the 
U. S. Cavalry. This background of an 
Army post makes an exciting and vigor- 
ous backdrop for Wood's skillful direc- 
tion. Every scene expresses his wonder- 
ful know-how and craftsmanship, now 
forever lost to Hollywood. That climax, 
where the Apaches erupt from an ex- 
panse of desert for a bloody massacre, 
is in the best tradition of epic westerns. 
The picture is due for gratifying returns, 

not only in spots featuring gallopers, but 
also in bigger houses where the audiences 
enjoy a deluxe western. And it is a fine 
legacy from a great director. 

Armand Deutsch, in his first stint for 
Metro, handled the production chores ef- 
ficiently. Important marquee value is 
supplied by Robert Taylor, in one of his 
best roles for quite some time. Seeming- 
ly an odd choice for the grizzled, hard- 
bitten Indian scout, he gives a sturdy 
performance and seems quite at home in 
the saddle thumbing away at his six- 
shooter. There is also beauteous Arlene 
Dahl, all dolled up in gingham, newcom- 
er Jean Hagen for a brief dramatic bit, 
stalwart John Hodiak as the heavy and 
John Mclntire in Buffalo Bill whiskers 
and buckskin. Scripted by Marguerite 
Roberts from a Luke Short story, the 
yarn carries some unexpected twists as 
in the scene where Taylor ineptly takes 
a sound thrashing from Hodiak. 

STORY: As Diablito, the crafty Apache 
chieftain, breaks loose from the reserva- 
tion, the Army outpost commander sends 

for prospector Robert Taylor to work as 
a guide. The Indians have captured a 
woman, whose sister, Arlene Dahl, has 
appealed to the troops for help. Tayior 
fhinks that a rescue expedition would be 
useless but reluctantly agrees to help. 
Arlene is engaged to tough Captain John 
Hodiak, but that doesn't prevent Taylor 
from putting in his bid. Trouble is brew- 
ing from another triangle affair on the 
post with Don Taylor romantically at- 
tached to Jean Hagen, who is married to 
a drunken brute, Bruce Cowling. When 
the latter is locked up for disorderly con- 
duct, he breaks out and stabs the com- 
mander with a pitch fork. This leaves 
Hodiak in command and he sets out on 
a foray against the Apaches. With Tay- 
lor's unerring guidance, they succeed in 
rescuing the captive girl, but Diablito 
and a handful of Indians get away. They 
set a cunning trap for Hodiak and his 
men, resulting in a complete massacre 
for both sides. Taylor arrives in time 
to kill Diablito and then returns to the 
garrison and his Dahl. YORK. 


Rates • • as supporting dualler for family houses 

evitable happy ending. 

63 minutes 

Penny Singleton, Arthur Lake, Larry 
Simms, Marjorie Kent, Jerome Cowan, 
Lloyd Corrigan, Danny Mummert, James 

Directed by Edward Bernds 

Presumably there is a market for these 
Blondie pictures. Chic Young's comic 
strip characters have been brought to 
screen life for the 27th time by Columbia, 
and the formula remains basically un- 
changed. In "Blondie Hits the Jackpot", 
fans will find all the old routines as Blon- 
die, Dagwood, Cookie and the family of 
pups breeze through 66 minutes of get- 
ting in and out of trouble down to the in- 

Only Alexander 
gives evidence of any change by taking 
his first shave and experiencing pangs of 
puppy love, but all the rest is the same. 
Director Edward Bernds has borrowed 
heavily from the Chaplin and Buster Kea- 
ton films for the slapstick routines that 
give "Jackpot" most of its laughable mo- 
ments. Dagwood cavorts around on a 

• Poor 
• • Average 
• • • Good 

• • • • Excellent 

Please note that the 
rating often varies for 
different types of Theatres 

construction job with all the familiar re- 
sults associated with whirling beams and 
soft cement. The kiddies should love it. 
It's OK for dualling in family houses. 

Penny Singleton and Arthur Lake are 
Blondie and Dagwood, of course, while the 
other characters are as well known as the 
material at hand. 

STORY: Dagwood is fired by his boss, 
Jerome Cowan, when he dunks an impor- 
tant new client, Lloyd Corrigan, in a swim- 
ming pool. Corrigan's daughter gets 
Dagwood a job on her father's construc- 
tion project. Learning that the foreman 
is using faulty materials on the job, Dag- 
wood reports to Blondie, who informs 
Corrigan. The latter turns the contract 
over to Dagwood's boss, who promptly 
rehires our hero. GRAN. 




Opinions duiteJ, from Organization &ut?eL 


lowa-Nebraska Allied 

Suggestions brought out in the Des 
Moines and Omaha meetings: 

That National advertising campaigns be 
spread over a greater length of time, and 
placed in National Farm publications for 
the benefit of the subsequent run and rural 
area theatres. 

That the Legion of Decency motion pic- 
ture department could render a greater 
service to its public and to this industry 
by being positive as well as negative. That 
is, support the many good pictures as well 
as condemning the bad ones. (NOTE - 
In point is the radio and press story just 
released by the Legion claiming pictures 
are getting worse; stating 20-odd r/ < of 
American pictures are bad, and that 43% 
of European pictures are bad.) 

With the addition of 14 pictures recent- 
ly, there are now 54 approved pictures in 
the Childrens Film Library available for 
special Childrens Saturday shows or mat- 
inees. These films can be secured from 
the various film company exchanges at 
low rentals. This is a worthy Public Re- 
lations project; why not give it a try? . . . 
^Exhibitors should plant in their local news- 
paper, and run trailers calling attention 
to the fact that while the Consumer Price 
Index went up 31%, cost of food rose 
46'; and clothing went up 28%, movie ad- 
missions went up only 11%! Movies are 
your best buy! 


Independent Theatre Owners of Ohio 

The following letter from H. M. Richey 
of Loew's, Inc., is self explanatory: 

"Naturally we got a thrill out of your 
poll regarding sales policies and are grati- 
fied that again Leo leads the parade. 
Thanks a lot for sending me the bulletin, 
No. 446. 

In the same breath we are mightily dis- 
turbed at the section entitled 'Illegal 
forcing of pictures' in which, according 
to the replies, — all of the distributors 
are thumbing their noses at the law as laid 
down by the U. S. Supreme Court. 

I think you know how meticulously we 
have demanded that every single one of 
our employees live up not only to the let- 
ter but the spirit of the law and if such a 
condition applies to our company we want 
the facts as, apparently, you are in a posi- 
tion to give them to us. As recently as 
our last Sales Convention Mr. Rodgers, in 
addressing our branch and district mana- 
gers, said 'You know therefore that our 
company will not tolerate any violations 
of the decision. Further, living up to the 
law is an individual responsibility. Re- 
member, the company can't go to jail but 
you may if you are found to be in con- 
tempt of the courts.' 

While I realize that the contents of these 
questionnaires are, to a considerable ex- 
tent, confidential we believe that the cor- 
rection of such a condition reposes a cer- 
tain degree of responsibility on the person 
against whom such unfair tactics are prac- 
ticed to aid in abolishing them and, there- 
fore, we would appreciate it if you would 
approach those who made the accusation 
against our company, secure from him or 
thorn all the details possible, including 
dates and circumstances. 

Pete, this is a most serious charge to us. 

As you know, we discontinued day and 
date showings and moveovers; we discon- 
tinued weekly payment plans for shorts 
because it looked to us like theatre own- 
ers were, in some instances, being asked 
to pay for merchandise they didn't use; 
were first to eliminate the score charge; 
why go on, only because we believed that 
dealing fairly would pay a dividend and 
this smear on our escutcheon is so entirely 
against company policy that we will ap- 
preciate your help and those affected in 
correcting it if it exists." 

We are confident that Mr. Richey and 
his company are sincere in their desire to 
learn of any instances where the decision 
of the court is being violated, but they are 
helpless unless the complaining exhibitors 
are willing to be specific regarding such 

We, therefore, urge all exhibitors who 
have bona fide complaints against Metro 
in connection with the matter touched up- 
on by Mr. Richey to send the specific in- 
formation to either this office or to Mr. 
Richey, 1540 Broadway, New York City. 


Associated Theatre Owners of Indiana 

ATOI attitude on roadshow pictures 
and forced advanced admission price pic- 
tures does not need retelling, but we 
think that Eagle-Lion's handling of THE 
RED SHOES contains an added moral of 
the dangers that may lie in store for the 
exhibitor who plays on such a policy. 

Currently, and within recent weeks, 
several Indiana theatres were booking 
the picture to play at advanced admis- 
sion prices with a $2.40 top when an 
item appeared in the Indianapolis Star 
that THE RED SHOES which recently 
played here at roadshow prices would 
play a local theatre at the regular ad- 
mission scale. We can well imagine the 
resentment of movie goers who paid up 
to $2.40 for the recent roadshow engage- 
ment when they read that they will 
shortly be able to see the picture at reg- 
ular prices, and we guess that they will 
be mighty cautious the next time they 
are offered a picture at advanced admis- 
sion prices. In the meantime we syn> 
pathize with the manager who will have 
to make explanation to his customers. 

Any exhibitors who yet have the pic- 
ture to play can of course alter their 
plans accordingly. But we learned of 
one instance where an exhibitor opened 
with the picture on the day following 
the news story that the picture would be 
sold at regular admission prices. He 
had put on the typical roadshow cam- 
paign and told all of his customers that 
here was a picture they must pay up to 
$2.40 to see. When he saw the news- 
paper story he was faced with a dilemma 
from which there seemed no escape. If 
he charged the big prices he would lose 
tremendous good will and his customers 
would conclude that they were being 
"taken." It was too late to pull the pic- 
ture and playing it at regular admission 
prices would cause some wonderment 
and require explanation. 

We feel that this exhibitor acted wise- 
ly in selecting the lesser of the evils and 
chose the latter course. He made an- 
nouncement and advised that purchasers 
of advance sale tickets would be re- 
funded their money. It was an un- 
pleasant situation all around but the 
only logical way that the situation could 
be retrieved. 


It must be remembered: It was thought 
by the industry that the Supreme Court 
decision made it unlawful to fix admis- 
sion prices in the license agreement "or 
in any manner or by any means," and 
if an exhibitor chooses to advance the 
price in his theatre we know of no man- 
ner in which the distributor can guaran- 
tee that all other exhibitors who subse- 
quently play the picture will also decide 
to increase their admission prices. 



Many members have complained to 
this office about some of the tricky sales 
methods of distributors. For example, 
an exhibitor voluntarily buys several pic- 
tures, and finds that the home office, or 
in many cases the branch manager, re- 
jects the picture that the exhibitor wants, 
and approves the others. The excuse, of 
course, is that the pictures are being sold 

The fact of the matter is that the Su- 
preme Court decision permits an exhibi- 
tor to buy as many pictures as he desires, 
provided he does so voluntarily and with- 
out coercion bv the distributor. The Su- 
preme Court places the burden squarely 
on the distributors, and gives the inno- 
cent independent exhibitor full and com- 
plete leeway. 

If you have been faced with the fore- 
going problem, you can protect yourself 
by inserting the following clause on your 

"It is a condition of this application 
that Distributor shall license to Exhibitor 
all the motion pictures designated therein 
or else reject the application in its en- 

If you negotiate for more than one 
picture and these are written up on 
separate contracts, and you desire to buy 
them all or none, you should insert the 
following clause on ALL the contract 

"It is a condition of this application 
that Distributor shall license to Exhibitor 
all pictures for which applications were 
signed and submitted on the same day 
or else reject all such applications." 


I TO of Ohio 

Nearly 200 theatres responded to our 
recent questionaire regarding the sales 
policies of the eight major companies and 
we show below, in terms of percentage, 
the results of the survey. 

"FAIREST" COMPANY: Metro 38%, 
T. C. Fox 33%, Warner Bros. 18%, RKO 
8%, Paramount 3%, Total 100' r . 

Bros. 9%, RKO 11%. Metro 14%, 
T. C. Fox 14%, Paramount 52%, Total 

One set of figures is very illuminating: 
— It matters not who has the title of 
Paramount's General Sales Manager, that 
company continues to adhere to the well- 
established "Balaban" policy of getting 
all that the traffic can bear. 

Columbia, United Artists and Universal 
ran substantially neck-and-neck in both 

JANUARY 2 , 1950 




"Two Jima" Gets All-Dut Marine Cn-on marine co op 

MT TU„ IT C Tt/f.._-.... f . I 

/iu«i/c, ju*.u ngur ana jonn »f uyne ctiargo through the hail of bullets and bombs, but their 
unfortunate comrade is stopp.d by a Jap missile. Below, the historic flag raising on Mt. Suribachi 

ii^ ANUS OF IWO JIMA," Republic's contribution to immortalizing on 
O film the outstanding heroic events of World War II, is a production that 
lends itself to exploitation as well as — or better than — any war film ever 
made. This graphic depiction of the United States Marines' greatest hour has 
been bulwarked ballyhoo-wise with the active support of every Marine unit in 
the country, some 700 of them; in John Wayne, it has one of the top he-man 
stars in Hollywood to enhance the marquee; its scripter is Harry Brown, 
author of another great war picture. "Walk in the Sun"; its story, based on 
one of the bloodiest and most dramatic battles of the war in the South Pacific, 
is a by-word to every moviegoer; for the women, in addition to Wayne, there 
is a romance intertwined. That's a lot of boxoffice bait for any picture. 

But the best is yet to come: Republic s Steve Edwards and his staff of 
exploitation-publicity-admen have surpassed themselves in selling the picture. 
Their tie-ups. both with the Marines and with commercial products, have 
made the public well aware of the film's coming and they now offer to theatre- 
men a selling manual that punches across an exhaustive exploitation campaign 
that covers every possible promotion to make the film a smash grosser. It 
tells the showman how to enlist the aid of the Marine Corps in his district; it 
offers excellent ideas for displays featuring the star and the stirring, historic 
flag-raising, probably the most famous picture of the war; it suggests some 
interest-ticklers that are bound to have the town talking; there are school 
promotions and special promotion':, a newspaper and radio campaign; music, 
book and other store tie-ups — in other words, there is something for every 
theatre in every town, big or little, in the U. S. 

The U. S. Mar.'ne Corps has truly gone all-out 
in offering its cooperation in publicizing the pic- 
lure. They are available as boxoffice assists with 
parad s, bands, displays, newspaper and radio cov- 
erage, A-Board posting and in a host of other ways. 

The A-Board poster has a tremendous, full-color 
illustration of John Wayne wi;h the film's title fea- 
tured. Your local Marine contact will arrange for 
posting tim d to boost your playdiit e. 

Wherever possible, the Marin;- Corps will supply 
personnel and equipment for parades and display 
in front of your theatre. The xhibitor will be 
responsible for gas. oil, etc., used in running motor- 
iz (1 vehicles, or for any shipping charges involved, 
but otherwise g ; ts use of th:-se facilities without 


The famous flag-raising atop Mt. Suribachi lends 
itself especially to If mendous eye-interast. For 
instance, as a dramatic prologue to the pi:ture. you 
might stage a re-enactment of the scene (b low at 
left » . Chock with your recruiting officer about 
the necessary rl rsonnel for such a re-enactment. 

Or for an animated display, a cut-out of the six- 
sheet in full color can be us-d, substituting a real 
flag in place' of the one in the post r. w th a con- 
cealed fan making it wave. Another effective dis- 
play on the same seen- could be arranged with a 
hobby club or group of model makers to make up 
a replica in miniature to be placed in your lobby 
or in a department stop' window under spotlight. 


Don't forget the ladies in your bally efforts. To 
tie in with one of the sequences in the film, a war 
bride in your town could b selected to make a 
phone call from your stage to her folks at home 
and should be good for plenty of coverage by press 
and radio. 

Female ex-Marines could b<- admitted free. Wives 
of Marines and ex-Marines could receive flowers 
when th y attend the show. The presentation could 
be made either in the lobby or right from the stage. 



H- — -it 



of the issue 

- < 

John Wayne, as the tough Sergeant Stryker, yells ordj s to his m<r in th .r baptism of fire at I WO. 


The illustrious World War II record of I lie U. S. 
no Corps, culminating in the familiar flag-raising scene 
vo Jima's Mt. Suribachi, is the background for "Sands 
vo Jima." In this story of the men who fought and 
to raise thai flag, John Wayne portrays the veteran 
tie Sergeant who earns the hatred of his squad hv his 
ess training tactics and hitter outlook on life. \\ avne 
his men arc brought together in their New Zealand 
ing camp, where a particularly strong hatred for the 
ant is cultivated hy John Agar, a PFC whose father, 
adalcanal hero, was Wayne's idol. Agar despises his 
r because the latter considered his son a "softie." The 
1 participates in the capture of Tarawa, when \\ ayne's 
taking teachings are put to good purpose. On leave 
awaii, Wayne is softened through his contact with 
Bishop, rejoins his men a more human, and humane. 

leader. He leads his squadron in an attack on the volcanic- 
rotk-and-lava island of [wo Jima. where Agar proves him- 
sell the lighting man neither hi* lather nor Wayne believed 
he could he. In the (inal battle. Wayne team- up with 
Agar ami W ally Cassell to launch a daring attack which 
turns the tide in favor of the \merieans. The immortal 
flag-raising sequence illustrates the capture of the island, 

but only after Wayne is mortally wounded b\ a Jap sniper. 
In the finale. Agar promises the d\ ing Wayne that his own 
newly-born son will be named alter his famous father, for 
whom his hatred has turned to love. "Sands of Iwo Jima." 
directed b\ Mian l)\\an and produced b\ Edmund Grain- 
ger, is based on a story h\ llarr\ Brown. In addition to 
the professional cast, which includes Forrest Tlicket anil 
Adele Mara, more than 1200 Marines participated in the 

Republic production. 


What the Newspaper Critics Say About New 'Films 


A contrasting combination of opinions 
running from disapproving criticism to 
rare unreserved praise comprised the 
welcome afforded Metro's controversial 
'Intruder in the Dust' by the New York 
newspaper critics. With one notable ex- 
ception, the dissenting reviewers feel the 
film just misses greatness because of the 
weaknesses they point up. They also 
find grounds for agreement in their 
praise for the realistic and stirring quali- 
ties of the picture. 

Conferring his unrestricted blessing on 
the production, Bosley Crowther, in the 
Times, credits Producer-Director Clarence 
Brown and M-G-M with having "made a 
brilliant, stirring film," proclaiming 
"without a moment's hesitation . . . that 
it is probably this year's preeminent pic- 
ture and one of the great cinema dramas 
of our times ... a triumphantly honest, 
adult film." 

To the Sun's Eilen Creelman, the lone 
exception mentioned above, the picture 
appeals "to the mind rather than the 
emotions," is "a literary pie^e, well-mean- 
ing, artificial" and therefore "a long way 
from entertainment." 

The Herald-Tribune's Otis L. Guernsey 
unhesitatingly calls it "a picture which 
no one should be afraid to see and which 
no one should miss." The direction and 
script, he adds, "overlap in a perfect un- 
derstanding of the motion picture me- 
dium," telling the story "in an absolute 
minimum of dialogue and an absolute 
maximum of significant action." 

Although he rates it "good-plus" in the 
Post Movie Meter, Archer Winsten points 
out "the whole picture lacks something," 
and is consequently "essentially cold" and 
"not irresistible." In spite of this short- 
coming, he commends the film for being 
"clear, plain-spoken, right-minded and, in 
many ways, admirable." 

In its fierce moments, writes Seymour 
Peck in the Compass, the picture "ap- 
proaches greatness" and is, as a whole, 
"a decent, moral and admirable movie." 
But, he says, "for all its splendid, simple 
eloquence" it "somehow seems smaller 
and "mailer when it becomes a detective 

The audience's "attitude toward Faulk- 
ner in general" will determine the judg- 
ment of the picture, according to the 
World-Telegram's Alton Cook, since it is 
a "very faithful adaptation of William 
Faulkner's novel." Hollywood has never 
been more courageous, he continues, "and 
it has been done with skill to match its 

Rose Pelswick, in the Journal-Ameri- 
can, simply states that "it is a serious 
and thoughtfully handled drama" dealing 
with racial bigotry. 



"Story is venerable, theatrical, senti- 
mental and liberally strewn with 'sure- 
fire' situations . . . Makes its bid for 
popularity to those who will not be haunt- 
ed by the familiarity of much of it." — 

"A diverting piece, thanks largely to 
Powell's engaging characterization." — - 

"A kind of a musical without music . . . 
Goes into a song and dance at rare in- 
tervals and with the greatest reluctance, 
as though such frivolities might interfere 
with its epic plot." — PECK, N. Y. COM- 


"An injudicious comprise . . . effected 
in the adaptation of the notable stage 
revue 'The Bandwagon.' . . . Not nearly 
enough (humor) to make 'Dancing in 
the Dark' comical as well as tuneful . . . 
Has the same tunes that distinguished 
'The Bandwagon,' but little else." — 

"Story is gay and inviting, up to a de- 
finite point, and then it goes hopelessly 
to pieces in a great big sentimental 
heap." — CROWTHER, N. Y. TIMES. 

"Powell's performance is a little come- 
dy gem . . . Story gets off the beam when 
it turns serious. But it does have Powell, 
a handsome production, and some of 
those wonderful 'Bandwagon' songs." — 



"Delightful entertainment for all ages, 
sexes and seasonal moods . . . Gaiety, 
rhythm, humor and a good, wholesome 
dash of light romance . . . artfully blended 
together in this bright Technicolored com- 
edy." — CROWTHER, N. Y. TIMES. 

"Cast gives a slam-bang rendition of a 
book, music, lyrics and dances that are 
not always as good as they seem . . . The 
sort of show which is not to be denied and 
which is put over by sheer force of unfail- 
ing gayety ... A bulging package of slap- 
stick and wit, of musical numbers both 
gagged up and graceful . . . Has recorded 
enough gyrating, fast-paced, open-handed 
nonsense to last even a sailor a month." — - 

"Special qualities that made 'On the 
Town' so rare among Broadway musicals 
. . . are somehow missing ... A conven- 
tional, slightly better than standard MGM 
musical." — PECK, N. Y. COMPASS. 

"Seasonably gay musical comedy . . . 
Cheerful and diverting song and dance 

"A lighthearted musical made for a time 
of singing, dancing and nonsense . . . 
Pretty much Gene Kelly." — CREELMAN, 
N. Y. SUN. 

"Conventional movie musical comedy 
. . . Like its stage original, the screen ver- 
sion consists almost entirely of songs and 
dances." — COOK, N. Y. WORLD TELE- 

"Ideal, in a way. In another way, it's 
sort of pretty-pretty dull . . . Moves to the 
triumph of a mechanical rabbit, superior 
on everv measurable count but not alive." 



"Carries a great deal more sentiment 
than conviction ... In short, there is 
little of substance or excitement in 'The 
Story of Molly'." — CROWTHER, N. Y. 

"Would hoodwink us into thinking it 
is an earnest, moral film, showing the 
value of liberal prison methods in the 
reform of criminals . . . but (it) makes 
California Institution for Women look 
like the setting for a snappy musical 
comedy." — PECK, N. Y. COMPASS. 

"A rickety melodrama . . . Far from 
being a straightforward record of life 
in a woman's prison . . . Just another re- 
telling of a routine movie tale." — 

"A drama of regeneration as well as 

a melodrama" - CREELMAN, N. Y. 

"You'll NEVER believe the ending! 
Anyway, we didn't — but we found the 
film, as a whole, a vast departure from 
the usual prison picture." - THIRER, 
N. Y. POST. 

"Starts off as a grim and brutal melo- 
drama . . . however, the mood is skittish- 
ly abandoned and the picture even slips 
off into moments of coy cuteness." — 

"Routine underworld melodrama. . . . 
Script something less than convincing." 



"A delightful holiday piece . . . Storyl 
is simple enough. That is part of its 
charm." — CREELMAN, N. Y. SUN. 

"Sweet and gentle and whimsical . . .1 
Not a great picture . . . but, its ingratiat- 1 
ing fare for the whole family — and es- 
pecially pleasing to the younger genera- 1 
tion." — THIRER, N. Y. POST. 

"Sprightly trifle of romance, aiming at I 
an occasional moment of laughter but 
more often at a wistful tear . . . Amiable ■ 
and unpretentious . . . For a restful 
spell during a Christmas shopping day." 

"Nice amiable little story . . . Abounds 
in good will and friendliness, without 
getting sticky about it." — PECK, N. Y. 

"Delghtful down-to-earth humor . . .1 
As likeable a comedy as has been seen 
around these parts in some time . . .1 
You'll enjoy it." — PELSWICK, N. Yi 

"An amiable little romance . . . a| 
strictly holiday item . . . Lightweight inl 
story and treatment . . . One of those tin-l 
sel-trimmed affairs which will likely de-| 
pend for popularity upon the glamour* 
potential of its stars . . . This corner finds 
it much too saccharine for either credi-| 
bility or delight." — CROWTHER, N. Y. 

"Smooth as a parfait and about as sub-| 
stantial. For all its well oiled plot mach-| 
inations, the picture is grand entertain-l 
ment." - - PIHODNA, N. Y. HERALD! 



"Really a horse opera in period cos-l 
tumes rather than a true picture of the! 
(French) Revolution . . . More con-l 
cerned with horse chases and a mysteri-, 
ous black book than with fact . . . Hasl 
the merit of action if nothing else." — J 

"Hour or so of noisy commotion . . .1 
Has not much in mind except to keep! 
everyone in the cast in constant motion. 
They are certainly animated, if nothings 
else." — A. CC, N. Y. WORLD TELE-j 

"Deplorable botch which reduces the! 
French Revolution ... to the level of a| 
cops and robbers comic strip . . . It isj 
hard t belieove that a presumably respon-i 
sible producer like Walter Wanger could 
think the American public responsive toj 
the sordidness and degeneracy of 'Thej 
Black Book' . . . There are scenes that 
revel cynically in ugliness." — PECK, N. Y- ; 




Behind the Scenes of Film Production 



jgXPANSION seems to be the keynote 
of Columbia at the turn of the year, 
with at least one outside production deal 
near the inking stage here in Hollywood, 
a new tie-up with J. Arthur Rank for 
joint production of a series of pictures 
to be made in England, about to be 
signed in London, and a new division 
being set up at the home office for the 
importation and distribution ot six to 
eight foreign language features annually. 

Of considerable interest locally is the 
projected deal for Edward Small to move 
his production unit to the Gower Street 
lot with a multiple picture program of 
"A" features for release by Columbia 
over a two-year period. It will be an 
exclusive deal, sources close to Small say, 
with the exception of "The Valentino 
Story," for which Small reserves the 
rights to negotiate a separate release. 
Although no one is willing to discuss the 
matter at any length, as of this writing, 
this department hears that Columbia will 
finance the program on a joint produc- 
tion-distribution setup, with Small shar- 
ing in the profits. It is further under- 
stood that "Lorna Doone" and "Crime of 
the Waterfront" - both Small proper- 
ties — will likely tee off the new partner- 
ship program. 

Rank Deal 

As to the Columbia -J. Arthur Rank 
deal, little can be said at this tirn?, be- 
yond the fact that Columbia executives 
are hopeful that the Eric Johnston- 
Harold Wilson monetary agreement, cur- 
rently being revised, will provide wider 
spending powers in Europe. With that 
in mind, Harry Cohn and Associates are 
mulling a joint production slate for an 
undetermined number of films. 

Another deal with Humphrey Bogart's 
Santana Productions was also expected 
to be signed in the final days of Decem- 
ber, putting a stop to rumors that Bog- 
art was planning to move his unit to 
another major studio for future releases. 
This would have been a serious blow to 
Columbia, inasmuch as the Santana Pro- 
ductions released this year have ranked 
among their biggest money-makers. 



ON THE HEELS of an announcement 
from New York that Eagle-Lion will 
be operating in the black by February 15, 

this department learns that N. Peter 
Rathvon has succeeded in wooing two 
new banks into the fold of financial back- 
ers for his inde production project. The 
Fidelity Philadelphia Trust Company and 
the National Bank of Detroit, are reput- 
ed to have agreed to put up first money 
on four Rathvon-sponsored features for 
E-L release. This new development has 
done much to bolster spirits around here 
after months of nothing but depressing 

Insiders in Hollywood, who have watch- 
ed Eagle-Lion with a wary eye, now agree 
that the quality of the up-coming prod- 
uct should do much to re-establish the 
company as a formidable releasing or- 
ganization. Much interest has been shown 
in three new features added to the slate: 
the second LeMay-Templeton production 
starring "Deadfall" (John Barrymore, 
Jr.) which will be filmed in Technicolor; 
"Learn To Love" (Celeste Holm-John 
Payne) and "Sunset at Dawn." 
Expect 65 Features 

As of this writing, company toppers 
are predicting a total release slate of bet- 
ter than 65 features for 1950, in addition 
to a minimum, of 12 from the J. Arthur 
Rank company in England. 

By far the most important of the new 
deals is the one just signed with Jack 
Schwarz, whereby E-L will distribute 30 
pictures which have either been filmed in 
recent months, or are scheduled to roll 
in the early months of 1950, at Motion 
Picture Center. Two of the features, 
"Forbidden Jungle" and "The Fighting 
Stallion," have already been turned over 
to the releasing outfit, under provisions 
of the new pact. 



TTHE DARING of Dore Schary is strong- 
ly in evidence here, as plans begin 
to shape up on a small number of top- 
budgeted features far o'f the beaten 
track. Schary, himself, vvil] produce a 
startling type of fantasy in "The Next 
Voice You Hear," which deals with the 
intervention of God, through the medium 
of radio, to save a world b-mt on re\l- 
destruction. Of equal interest, is the 
highly secretive plan to film i full-length 
feature dealing with the birth of Israel, 
employing an all-star cast. 

Anyone studying Schary's plans cannot 
help but be struck by the fact that here, 
at last, is evidence that the motion pic- 
ture industry is growing into maturity. 
What the reaction of the public will be to 

a type of film-fare so far removed from 
what they've been used to, remains to 
be seen. But this much is certain: the 
pictures are going to cause a lot of talk 
- and that's exactly what the industry 
ne?ds. Talk stimulates interest and curio- 
sity, and these elements will bring people 
back into the theaters. It's the guess of 
this department that Schary will give 
them something they like, and perhaps 
bring them back again and again as 
steady customers. Hollywood has lost 
millions of fans by going stale, and a 
shot in the arm is sorely needed. 
Lasky on 'Caruso' 

Jesse L. Lasky has sold his rights to 
the life story of Enrico Caruso to Metro, 
and moves to this lot January 3 to share 
producer credit on the film with Joe Pas- 
ternak. Although no casting has been 
announced, it is generally believed that 
Mario Lanza, the studio's new singing 
sensation, will be cast in the starring 

As forecast here last issue, MGM has 
definitely set a starting date on its multi- 
million-dollar production, "Quo Vadis," 
which will be filmed in Italy. Henry 
Henigson, the company's production sup- 
ervisor, told this department following his 
return to Hollywood for the Christmas 
holidays, that plans are now complete 
to start filming the picture on May 21. 
Here again, Metro rates a pat on the 
back, for having the courage to go all- 
out on a production, at a time when 
most studios are practicing economy at 
the expense of production values. 



PRODUCTION has been closed down 
here for the past three weeks to al- 
low company employees to take advan- 
tage of the seasonal lull with a prolonged 
holiday. About the only sign of activity 
to be noted anywhere was the work of 
repair crews at the Placeritos ranch, face- 
lifting some of the permanent sets for 
"Jiggs and Maggie Out West," which 
Producer Barney Gerard puts before the 
cameras this month. However, the cam- 
eras will start rolling on a half dozen 
sound stages before month's end, as the 
studio shifts into high gear around the 
tenth of January. 

Four Monogram films on the 1949-50 
program, including two in Cinecolor, will 
be released in January. The top-budgeter, 
"Bluegrass of Kentucky." produced by 
Jeffrey Bernerd, with William Beaudino 
as director, went into release at the year's 

JANUARY 2, 1950 



end. On Jan. 8th, "Six Gun Mesa," di- 
rected by Wallace Fox, will go out; Jan- 
uary 15, "Young Daniel Boone," directed 
by Reginald LeBorg will start making 
the rounds, and on January 29th, the 
company has set "Blonde Dynamite," for 



PARAMOUNT is boasting the strongest 
lineup of star power ever assembled 
in its product in a single year. No less 
than 78 stellar personalities will be seen 
in the 1950 product, now completed. 
These players include: Olivia DeHaviland, 
Lucille Ball, Jean Arthur, Judith Ander- 
son, Eve Arden, Fred Astaire, William 
Bendix, Edgar Bergen, MacDonald Carey, 
Joan Caulfield, Montgomery Clift, Char- 
les Colburn, Wendell Corey, Joseph Cot- 
ten, Jane Cowl, Bing Crosby, Robert Cum- 
mings, Billy DeWolfe, Barry Fitzgerald, 
Joan Fontaine, Mona Freeman, Paulette 
Goddard, June Havoc, Wanda Hendrix, 
William Holden, Bob Hope, Miriam Hop- 
kins, Ruth Hussey, Walter Huston, Bet- 
ty Hutton, Dorothy Kirsten, Alan Ladd, 
Burt Lancaster, Hedy Lamarr, Angela 
Lansbury, John Lund, Diana Lynn, Vic- 
tor Mature, Ray Milland, Dennis O'Keefe, 
John Payne, Gail Russell, Lizabeth Scott, 
Robert Stack, Barbara Stanwyck, Gloria 
Swanson, Jessica Tandy, Elizabeth Tay- 
lor, Gene Tierney, Eric Von Stroheim, 
Marie Wilson, Shelley Winters, and sev- 
eral others of like distinction. 
New 'Road' Project 

There's talk of another "Road" picture 
coming up early this year, with Mary 
Martin, who is currently scoring such a 
success in the Broadway musical, "South 
Pacific" as the possible leading lady for 
Hope and Crosby. Miss Martin's contract 
with Rogers and Hammerstein in "South 
Pacific" is up in June, and she has not 
yet decided whether or not she will renew 

Rudy Mate has just been signed to a 
one-a-year directors contract here, with 
"Union Station," as his starting assign- 
ment. The cast for this top-budgeter in- 
cludes Barry Fitzgerald, William Holden 
and Wanda Hendrix. 



nrilKUK should be a tip as to what can 
be expected from Republic in 1950, in 
the fact that the company's common stock 
is now a very hot item around Hollywood. 

It would doubtless come as a great sur- 
prise to a lot of people if the names of all 
the motion picture executives who have 
been buying up the stock were to be pub- 
lished. Many of them are prominently 
placed in major studios around town and 
probably would prefer not to have it 
known that they are placing so much faith 
in Herbert Yates and his associates at the 
Valley studio. 

In looking back over 1949, it is obvious 
that Republic has made great strides to- 
ward meeting some of the larger com- 
panies on their own grounds. And now, 
with "Sands of Iwo Jima" meeting great 
succecs in first runs, there can be little 
doubt that 1950 has been launched in a 
most auspicious manner. 

Bang-Up Sales Job 

Great credit is due the sales and pro- 
motion departments of the company for 
the heads-up job they're doing in selling 
"Iwo Jima". Too often studios outside the 
"big five" throw away their hits by fail- 
ing to properly exploit them. Such defi- 
nitely is not the case here. At the pre- 
mieres in three west coast cities, "Iwo 
Jima" has bagged as much newspaper 
space as almost any picture to come out 
this year, with the possible exception of 
MGM's "Battleground". That's smart 
business on Republic's part, and it will be 
reflected in the boxoffice returns of all of 
the exhibitors up and down the country 
who play the feature later on. 

Plans are shaping up on several other 
imposing productions for 1950, that should 
help to secure the company in its new 
position. Foremost among these is "Fair 
Winds to Java", a sequel to last year's 
popular "Wake of the Red Witch", which 
will again star John Wayne. Edmund 
Grainger, who will produce the feature, 
plans to shoot a major portion of the foot- 
age on location sites in Dutch East Indies. 
By so doing, he hopes to unfreeze some 
of the assets that have piled up there 
since before the war. 



JN SPITE of the holiday season, activity 
has kept up a merry pace here in re- 
cent weeks, as Howard Hughes attempts 
to make up for lost time — not to mention 
a somewhat depleted backlog. Right 
through Christmas week, seven features 
and three short subjects were being edited 
in the studio's cutting rooms, not to men- 
tion the three features which were shoot- 
ing on the sound-stages. 

At the same time, new story properties 
were being purchased, not the least of 
which was "O, Mistress Mine", the Ter- 
rance Rattigan play which starred the 
Lunts on Broadway a season or so ago. 
According to the best available informa- 

tion, Cary Grant will probably be starred 
in the Rattigan piece, with Rosalind Rus- 
sell as a likely co-star. 

Features being edited during the closing 
clays of December were: "Stromboli", "Bed 
of Roses", Carriage Entrance", "Blind 
Spot", "Dynamite Pass" and "Rider from 
Tucson". Before the cameras were: "Jet 
Pilot" (John Wayne-Janet Leigh), "Sons 
of the Musketeers" (Maureen O'Hara- 
Cornel Wilde) and "Come Share My Love" 
(Irene Dunne-Fred MacMurray). In addi- 
tion, Samuel Goldwyn had "Edge of 
Doom" (Dana Andrews-Farley Granger) 
shooting and John Ford was winding 
"Wagon Master" (Ben Johnson-Joanne 



JUDGING FROM the heavy schedule 
of top-calibre productions set to go be- 
fore the cameras in the next 60 days, it 
looks like 1950 is going to be a banner 
year for Fox. After a slow-down during 
the Christmas holidays, the studio will 
soon be operating at top speed, with a 
half dozen or more features shooting at 
one time. Three features, "Cheaper By 
the Dozen," "No Way Out" and "My 
Blue Heaven," were the only ones shoot- 
ing during most of December. However, 
just before Christmas, Darryl F. Zanuck 
gave the go-ahead on the new Richard 
Widmark starrer, "Outbreak," which is 
shooting in New Orleans. On December 
26, "Where the Sidewalk Ends" started 
in New York, and today, January 2, "Raw- 
hide" gets the go-signal. This schedule 
wil be increased with the following fea- 
tures scheduled to start during January 
and February: "The Jackpot," "Night 
Without Sleep," "I'll Get By" and "Fami- 
ly Skeleton. Only final casting is hold- 
ing up this latter group. 
Zanuck Speaks 

Zanuck, in an exclusive interview with 
FILM BULLETIN, said: "The reason we 
led the parade this year, I believe, is be- 
cause we did not hastily bounce into pro- 
duction. We now face an even tougher 
market that calls for more care and con- 
sideration in production matters." He 
explained that the December "slowdown" 
was carefully arranged due to the holiday 
season. "Last year, during the holidays," 
he said, "we had five pictures in work, 
and substantial work hours were lost. 
We decided to avoid that, this year." 

As things stack up at the present time, 
it appears that Fox will have a minimum 
of 30 pictures for release during 1950, in- 
stead of the 24 orginally scheduled. Fur- 
thermore, there is a general feeling around 
the studio that the product will be superior 
— as a whole — to that of any previous 





$2,000,000 FOR HIS SHARE 

^PECULATION is running high in 
Hollywood that the majority stock- 
holdings of Charles Chaplin, which have 
been up for sale a half dozen times in 
the last year-and-a-half, may soon change 
hands. Sources close to Chaplin say he 
is more determined than ever to dispose 
of his holdings, with the result that the 
asking price has now dropped to $2,000,- 
000. Inasmuch as Chaplin is not de- 
manding any large proportion of the 
price in cash, and inasmuch as UA ap- 
pears to be on the brink of one of its 
most profitable years, the general opin- 
ion around town is that sale may be 
effected almost any day now. 

At least three different sources are 
known to be mulling the purchase. Mary 
Pickford, who, as co-owner of the com- 
pany, reserves the right to approve any 
such deal, is reported to be agreeable to 
the sale, and has gone on record as be- 
ing willing to subordinating her interests 
to owner-management, giving the pur- 
chaser of the Chaplin holdings the right 
to take over the company's complete 

Meantime, new releasing deals con- 
tinue to pour in, placing the company 
in a more and more favorable position. 
Fred Brisson has reactivated his Inde- 
pendent Artists company and is on the 
verge of signing a joint production con- 
tract with James Nasser for two UA 
releases. R. W. Alcorn has finally con- 
summated his deal with the company 
for release of "Johnny Holiday," and 
Monte Proser and Charles VVeintraub 
have just bought Jon Edgar Webb's 
prison novel, "Four Steps to the Wall," 
for production under the Proser-Nasser 



THE economy wave launched here sev- 
eral weeks ago continues in full 
swing, with the axe now falling on top 
personnel on the executive level. Fol- 
lowing the resignation in mid-December 
of J. Cheever Cowdin, two other top 
echelon execs — Vice-president Charles 
D. Prutzman and Treasurer Samuel 
Machnovitch — turned in their final 
notices, effective December 31. There are 
also indications that soirve of the new 
talent placed under contract during the 
past year, may be lopped off the payroll 
if they hive failed to measure up to 

Nothing can dampen the spirits of the 
sales staff, however, over the new Donald 
O'Connor comedy, "Francis." Everyone 
is agreed that Arthur Lubin, in this com- 
edy about a Viking mule, has come up 
with a potc;,ial "sleeper." 

David Lipton, the company's ad-pub- 
licity director, has come up with a new 
advertising format that will also bear 
watching. In an effort to convince non- 
moviegoers that they are missing great 
entertainment when they by-pass the 
movies, Lipton has decided to launch a 
whole new campaign of ads on news 
pages of the papers, instead of in the 
drama section. The idea was tested in 
Chicago with the opening of "Bagdad," 
and met with terrific response, he re- 



HUMORS still persist in Hollywood that 
the Warner clan would like to with- 
draw completely from the production end 
of the business and hold onto their 
theater holdings when divorcement goes 
into effect. Various money interests, in- 
cluding Glenn McCarthy, have been re- 
ported to be interested in buying out the 
Burbank Studio, although none of the 
Warner brothers is willing to comment 
on the subject. They are said to have 
always considered their theater chain as 
their most valuable investment. How- 

ever, it's the belief of your reporter that 
the Warners will hang on to their studio 
when the showdown comes. 

Eight new films scheduled to roll in 
the first five weeks of the new year, Jack 
Warner announced last week. These 
are: "Captain Horatio Homblower" 
(Gregory Peck), picturization of the 
best-selling C. S. Forrester novel with 
Raoul Walsh directing; "Stop, You're 
Killing Me" (Danny Kaye) Technicolor, 
with Harry Kurnitz producing and Phil 
Rapp directing; "Lightning Strikes 
Twice" (Richard Todd) from the novel 
by Margaret Echard, Henry Blanke will 
produce and King Vidor will direct; 
"Sugarfoot" (Randolph Scott) from the 
Clarence Buddington Kelland Saturday 
Evening Post story; "Road Block," which 
Bryan Foy will produce with Andrew 
Stone directing, introducing the new 
French star, Gaby Andre; "Elmer The 
Great" (Jack Carson), to be produced 
by Saul Elkins and directed by Dick 
Bare; "Murder, Inc.," to be produced by 
Milton Sperling and directed by Felix 
Feist; "The Breaking Point," to be pro- 
duced by Jerry Wald. 

Randolph Scott was signed to a new 
pact with the company during the clos- 
ing days of 1949, which calls for an in- 
definite number of pictures to follow his 
currently shooting "Colt .45." 


With eight pictures already ar- 
ranged for on the FC 1950 release 
schedule, Joseph Bernhard, com- 
pany prexy, is working out plans 
to double his distribution organiza- 
tion during the current year. For 
the past few weeks, Bernhard has 
been conferring with eastern bank- 
ing agencies to complete arrange- 
ments for a multi-million dollar 
primary and secondary financing 
pool to attract top inde producers 
of "A" product to the FC banner. 
Among the deals he is discussing 
with inde producers is one with Er- 
rol Flynn and William Marshall for 
three Flynn starrers which the new 
combination plans to turn out in 
the months ahead. 

Features already set for the 1950 
slate are: Julian Duvivier's "Black 
Jack," "Pirates of Capri." "The 
Flying Saucer," "The Wind Is My 
Love," "Guilty Bystander," "The 
Vicious Years," "Rapture," and 
"Four Days Leave." 

There is only ONE 
independent exhibitors 
trade paper 

JANUARY 2, 1950 




In the Release Chart, the date under "Details" refers to the 
issue in which cast, director, plot, etc., appeared. "Rel." 
is the national release date. "No." is the release number. 
"Rev." is the issue in which the review appeared. There 
may be variations in the running time in States where there 
is censorship. All new productions are on 1946-47 programs 
unless otherwise noted. (T) immediately following title 
and running time denotes Technicolor production, (C) 
denotes Cinecolor. 


1949-50 Features 

Completed (45) 
Completed ( 2) 
Completed ( 8) 

In Production (4) 
In Production (0) 
In Production (1) 



Drama — Started Dec. 12 

Cast: Glenn Ford, Broderick Crawford, Carl Benton-Reid 
Director: Henry Levin Producer: Jerry Bresler 

Story: Not available. 



Title — Runnlnf Tim 




Na. Re*. 

Beyond the Purple Hiils 


12-19 . . 

Custom's Agent 




Killer That Stalked New York, The 

.12-5. . 

State Penitentiary 




1949.50 . 

Adventure! of Sir Galahad, The 



All the King's Men (109) . 


. .12-6. 


And Baby Makes Three (84) 


5-23 . 



Details un-!er title: Bafcy Is Here 

Barbary P:rate (65) 




Bandlti of El Dorado 

. . .6-6. 

Beauty On Parade 



Behlrd This Mask 



Details under title: In a Lonely Pace 

Beware of Blondie 


. 8-29 

■lazing Trail 

. 1-31. 

Blond I. Hits the Jackpot 






. . 8-29 . 

Cargo to Capetown 

. McGulre-Moore 


t«s« Bill 


Japtive Girl 


. 10-24 


. 5-21 

Cowboy and the Indians, Tho 

. . 3-28 . 

Devil's Henchrren, The (69) . 


. . 11-8 

12-49 . 

Father Is A Bachelor . 


. .9-12. 

Feudin' Rhythm (66) 




Fortunes of d tain Blood 



Frontier Outpost 

. Starrett-Bumette 

. 12-29 

Girl's School 


. . .7-4. 

Carson-Wallace 6-6. 

Kiepora-Egterth 11-10. 

Her Wondert I Lie 

Details under title: Tha Eternal Melody 

H »« Down Arnoid-O'Mahoney 7-4 

Holiday in Havana Arnaz-Hakhcr 12-20 

Hors-men of the Sierra (56) Starrett-Burnett . 3-28 .9-49 

Jolson Sings Again (T) (96) Parks-Hale 11-22 10-10 

Kill the Umpire Bendix-Henry 10-24 

Lorn Take All Mitchell-Nigh 3-15 

Dtt ll, title: Wianar Taka Nothing 

Lost One, The (82) Corradl-Mattera Foreign 

Lost Tribe. The Weissmuller-Dell 9-27 

Mark of the Gorilla Weismullcr-Marshall ...9-26 

Mary Ryan. De ective Hunt-Phillips 7-4 

Military Academy Clements-Tyler 10-24 

Miss Grant Takes Richmond (87) Ba'l-Holden 3-28 10-49 10-10 

Mr. Soft Touch (S3) Fonl-Keyes 8-30. . .9-41 12-5 

Mule Train Randall-Vincent 8-30... 8-49 

Nevadan, The Coortland-Tyler 8-1 

No Sad Songs For Me aullivan-Corey 10-24 

Outca t of Black Mesa Starrett-Burnett 11-7 

Palomino Autry-Ryin 11-21 

fatty Girl, The Ctrmmings-Caulfleld 9-26 

Prison Warfen Ba ter-Lee 5-9 . 12-49 

Reckle.s Moment (82) Mason-Bennett 3-28 .11-49 

Renegades of the Sage (56) Starrett-Burnette 8-29 . 11-49 

Riders in the Sky Autry-Hcnry 8-29 11-49 

Details under title: Beyond the Purple Hills 

Riders of the Whistling Pines Autry-Whltt 7-5 

Detail* under title: Wings Westward 
Rogues of Sherwood Forest (T) Derrick-Lynn 9-12 

Rustv's Birthday (60) Donaldson-Litel 2-28. 11-49 

Smoky Mountain Melody (61) Acuff-Williams 12-16 

Sons of New Mexico Autry-Davi! T-4 

Tell It to the Judge (87) Russell-Cnmmings 4-25 . 12-49 

Details under title: My Next Hesband 

Tokyo Joe (88) Bogart-Marly 1-17. 11-49 11-21 

Trail of the Rustlers Starrett-Burnette 10-10 

Traveling Sa'eswoman Davis-Devine 8-29 

Tyrant of the Sea Williams-Randall 8-29 

Woman of Distinction Russell-Mltland 8-1 


Air Hostess (61) Henry-Wright 9-27 

Anna Lucasta (86) Coldard-Crawford . 1-31 

Dcolins cf Oklahoma (90) Scoit-Allbritton 10-25 

Johnny Allegro (81) Raft-Foch 1-3. 

Kazan (65) Dunne-Maxwell 1-31. 

Lone Wolf and His Lady. The (60) Scott-Mahne 4-25 

Luit For Geld (iO) Ford-Lupino 11-8. 

Details under title: Benanrr 

Rim of the Canyon (70) Au'ry-Leslia 12-20 

Secret of St. Ives. The (76) Key-Brown 12-20 

South of Death Valley (14) Starrett-Burnette 4-25. 


8-49 .... 



6- 49 I 

7- 49 

8- 49 

6-49 10-24 

7- 49 

8- 49 

We Were Strangers (106) 

Jones-Garfield 5-49. 




1948-49 Features 

Completed (31) In Production (2) 


Title — Running Time Cast Detail< 

Destination Moon Anderson-Archer 11-21 

Golden Gloves Story, The Dunn-Westerfall 11-21 






Alice In Wonderland (A) Marsh-Murray Foreign .... Feb 

Cowboy and the Prizefighter Bannon-Nova Dec... 956. 

Gay Lady, The Kent-Donald Forei;n . . . Dec . . . . 013 . 

Give Us This Day Wanamak-r-Padovani Jan. 

Hidden Room, The (£8) Newton-Gray Foreign ... Oct Oil. 

Hit The Ice Abbott-Costello Reissue 

I'll Be Seeing Ycu Rogers-Cotten Reissue 

Intermezzo (70) Bergman-Howard Reissue . Jane 

Never Fear For e;t— Brassellc Jan. 

Passport to Piml'co Ru'herford-Holloway ..Foreign 010. 

Port of New York Bradv-Stevens 0«e 009. 

Rebecca (SRO) Fontalne-Ollvler Reissue. . .Joly 

Sarumba Dowling-Whalcn Jan. ...014. 

Sundowners, The Preston-Downs Jm 

Third Man, The Cot en-Valli Jan. 


Against the Wind (95) Beatty-Slgnoret Foreign. Sept . .965 

Black Book, The (89) Cummings-Dahl 9-13. . .Aog. .. .926 

Details under title: Reign of Terror 

Black Shadows (62) Deoomentary Jely 944 

Blaze of Glory McAllister— Butler 11-7 

Dedee Signoret-Dalio Fofeign. . .Aug 

Down Memory Lane (72) Mack Sennett Shorts Aug 10-10 

Doel In the Sun (T) (138) Jones-Cotten 3-19.. Jane ...4-14 

Easy Money (94) Gynt-Price Foreign ... Ai>g .. r 62 

Finhting Redhead Bannon-Stewart 6-20 .. Oct .. .9^5 

It's A Small World Kosh tz-Dale 11-2B 

It's Moider Switer-Whalen 5-12 i 

O-ee Upon a D-eam (87) W t' ers-Jones Foreign . Sept. . . .942 | 

Paradlne Case. The (117) Todd-Peck Jane 

Place of One's Own (94) Mason-Lo-kwood Foreign . Sent. .. .961 

Portrait of Jennie (SRO) (86) Jones-Cotten Joly 

Prizefighter and the Cowboy, The (C) ... Bannon-Nova 9-12. 

Quartette (120) Baddely-Bogarde Foreign. 

Rampage Mitch. Il-Lnno 12-22 . 

Spring in Park Lane (£1) Neagl--Wild ng Foreign. 

Story of G.I. Joe Meredi'h-Mltchum ... Reissue 

Tomorrow You Die Ireland-Rvan 5-12 . 

Trapped (78) Bri;ges-Hoyt 7-4 

Waterloo Road (77) Ml!s-Grang?r Foreign 

Weaker Sex (85) Pa-ker-Jeans Foreign 

Woman in the Hall (S3) J-ans-S mmons Fore gn 

. May 


. Oct. 
. Aug 
. Auo 






Zamba (75) 

Hall-Vinc:nt Sept. 


940 J 

914 1 

960 .1 

004 . 10-24 



COMPLETED 1949-50 

Tl'le— Running Time Cast Details Rel. No Re» 

X'-Man (75) Jagger-Carradine 5-M 

Cry Murder (94) MaJhews-Lord Jj 

Daughter of the West (C) (77) Viekers-Reed 9-27... 2-15 4- 111 

Frustration (90) Lowenadler-Fridh ....Foreign -■ 

Guilty Bystander Sco t-Emerson 9-12 

Inner Sanetum (62) Hoghes-Rusiell 7-19... 9-48 10-25 1 

Lost Boundaries (97) Pearson-Ferrer 7-j I 

Lovable Cheat, The (77) luggles-Garner 1-31... 4-15 4-11 

Not Wanted (91) Forrest-Brasell, 3-14 j 

Pirates of Capri Hayward-Barnes I 

Project 'rX" (60) Colton-Andes 

Search for Danger (63) Calvert-Dell 

Vicious Years Cook-Mcrritt 






1948 49 Features 

Completed (34) In Production (1) 



Western — Started Dec. 14 

ast: Kent Taylor, Robert Lowery, 

irector: Sam Newfield 

ory: Not available. 

Sheila Ryan 

Producer: Sig Neufield 


/estem — Started Dec. 
ast: James Ellison, 
firector: Tom Carr 

ory: Not available. 


Russell Hayden, Fuzzy Knight 

Producer: E. Miller 


T i He — Running Time 
iche Chief (60) 



Cast Detail* Rel. No 

Curtis-Neal 11-4 . .'824. 

Ibn, Inc. (60) Lowery-Gwynnc 3-28 .. 6-24 .. 4819 . 

Ion of Arizona, The Price-Drew 11-21 4902 

II of the Forest Lowery-Curt:s 11-13 4821 

I orado Ranger ElMson-Hayden 

Joked River Ellison-Hayden 11-21 4925 

■ ton Gang, The (59) Barry-Uwery 8-15 10-21 ...45 13. 

Jiuty Marshal (73) Langford-Hall 7-18. . 10-28. . .4905 

j erybody's Dancin' Co;ley-Jackson 12-19 

list on the Draw Ell son-Hayden 1-2 

Cud Canyon (65) Arlen-Hujhes 5-23 ... 8-12 . . 4822 

ilywood Varieties Alda-Hoosier Hotshots 45.16. 

I tile Counlry Ellison-Hayden 12-5 

fcrshal of Heldorado Ellison-Hayden 

■dar Secret Service Howard-Jerg ns . . .4" 17. 

I Desert Barry-Holt 8-15 12-3 ... 4914 

Igside (62) Barry-Erown 4-25... 7-14 

I liner (61) Travis-Blake 5-9. .7-28 

f are Dane* Jubilee Thurston-Hicks 7-9. 

lire Is No Escape (63) Barry-Hughes 8-15.. 11-11. 

Igh Assignment Barry-stele 12-17. 

I'asure of Monte Cristo (78) Langan-Jcrgens 6-6 .10-14. 

Ibt of Brazos Ell s;n-Hayden 12-19 

. 4826 


1948-49 Features 

Completed (37) In Production (10) 

. Mar 



Titlo — Running Time Cast Details Rel. 

Ill Get Your Gun (T) Hutton-Keel 10-24 

ihalt Jungle Hayden-Hagen 11-21 

Id (T) Flynn-Stockwell 12-19 

Iig Soloman's Mines (T) Kcrr-Granger 11-7 

■liver Sepuel, The Garson-Pidgeon 10-10 

■pper Surprises His Wife, The Walker-Leslie 11-21 

Rimer Stock Garland-Kelly 

Iree Litt'e Wods (T) Astaire-Skelton 12-19 

joMPLETED 1949-50 - ■ 

(fm's Rib (101) Hepburn-Tracy 6-6... Nov. 

«sh Taylor-Hodiak 6-20 . Jan. 

tlegrcund (118) Johnson-Hodiak 4-25. .Nov. 

de r Incident (92) Murpiy-Montalban 2-14... Oct. 

Ilcnge to Lassie (T) (76) Gwynn-Lassle 1-7... Dec 

spirator, The Tavlor-Taylor 11-22 

Ts Doorway Taylor-Raymond 8-29. 

tor and the Girl, The (98) Ford-Leigh 5-9 

Details under title: Bodies and Souls 

nk to Me Only Taylor-Johnson 8-29 

Mails under title: The Big Hangover 

hess of Idaho (T) Williams-Johnson 11-7 

t Side. West Side Stanwyck-Mason 8-1 ...Jan. 

uder in the Dust (87) Jarman-Brian 3-14 . .. Feb 

To The City Gable-Young 8-1 

fe, The Kelly-Celli 8-15 

Jame Bovary (114) Jones-Mason 1-3... Aug. 

aya Tracy-Stewart 2-28... Jan 

Details under title: Operation Malaya 

tcry Street Montalban-Forrest ...11-21 

icy Goes to Rio Sothtrn-Powell 7-18... Mar. 

the Town (T) (98)) Sinatra-Kelly 4-11... Dec. 

i Door, The Sothern-Scott 4-25... Dec. 

riders (T) McCrea-Dahl 8-29 

^se Believe Me Kerr-Johnson 8-1 

Danube, The (119) Pidgeon-Barrymore 3-14... Oct. 

ormer and the Redhead Powell-Allyson 10-10 

ret Garden, The (92) O'Brien-Stockwell 10-25.. Sent. 

[e Street Grainqer-O'Donnell 5-9 ...Feb. 

In My Crown McCrea-Drew 6-20. . . Feb. 

jision (95) Tottcr-Basehart-Charrise . 6-6... Nov. 

it Forsyte Woman (112) Garson-Flynn 1-3... Nov 

lit Midnight Kits Grayson-lturbi 1-17.. Sept. 

low Cab Man, The Ske'ton-Beckett 9-26 Mar 

j're Only Young Twice (T) Stockwell-Beckett 9-26 




10-2 1 

.5. . .8-2> 



.931. .8-15 


.4. . .9-26 
.2. . . .5-9 

. .11-7 


I Number Can flay Gable-Smith 1-17 ... July ... .930 ... .6-6 

kleys of Broadway (109) Rogers-Astaire 8-2 ... May ... .925. . .4-25 

>at Sinner, The (110) Peck-Barrymore 10-25. . .Aug. .. .923. . .7-13 

the Good Old Summertime (102) Garland-Johnson 12-6 ... July .... 932 .... 7-4 

me of the Crime (94) Johnson-DeHaven 2-14... Aug 933.... 7-4 

atton Story, The (106) Stewart-Allyson 11-18... July 929 . 4-25 

A N U A R V 2 

19 5 0 

1948 49 Features 
Allied Artists 

Completed (25) 
Completed (17) 
Completed ( 8) 

In Production (0) 
In Production (0) 
In Production (0) 



- 1949-50 

Blonde Dyramite Go cey-Hall 12-19 1-29 

Fence Riders Wilson-c:yde 12-5... 2-12 

Henry Does It Again Raymond Walburn 2-15 

Joe Palooka in Honeymoon for Five . ... Kirkwood-Errol 11-7 2-5 

Killer Shark Mclowcl-Norris 1J-21 

Roaring Trails Mack Brown 12-19. . .2-26. 

Six-Gun Mesa Brown-Davis l-"- c 0 

Square Dance Katy Katy-Davis 12-11 

Details under title: Murder in the Air 
Young Daniel Boone (C) Bruce-Miller 1-15-50 


Ti I- — Run' ino Time Cast Detnil> 

An-els in D sgui-e (C3) Goftey-fla'j 7-4 

Black Midn g' t (66) MOwall-Thonus 7-4 

Blue Grass of Kentucky W II ams-Nhh .10-24 

Bomha on Panther 'sland Sheffich-Bceb; 

Forgotten Women (65) Knot-Lynch 

H untel Trails (60) Wilson-Clyde 

Hold That Baby ( 64 ) Gorcey-Shr.w 

Details under title: Safety Pins 
Jijgs and IVagj'e in Jackpot Jitters (£6) ..Yule— R a o 

Joe Palooka in the Counterpunch (74) Kirkwood-Kno« 

Lawless Code (58) Wakely-Taylor 

Masterminds Gore y-Hall 

Range Justice (57) Brown-Terhnne 5-23 

Details under title: Cattle King 

Rang<i Land ( 6> Wilson-Browne 

Riders of the Dusk (57) Wilson-Cyde 

Roaring Westward (55) Wakrlcy-Taylor 6-20 

Trail ot the Yukon (67) Grant-Dalbert 6-* 

Wolf Hunters, The Grant-Clayton 9-12 



.4" 52. 
.49 E 1. 



. . 7-4 . 

. 7-4 

. 10-2 
. .7-17. 
. . .9-4. 
. 7-3 


. 8-7 

No Rev 



A r Ol 

. 4807 

. .4813 


.4817. .. 


. 9-4. 
. .7-31. 

AS' 2. 




Massacre River (78) 

Details under title: When a Man's a Man 

My Brother Jonathan (105) Denison-Gray Foreign 

Slampede (78) Cameron-Storm .... 10-^5 

There's a Girl in My Heart (86) Jian-Fynn 8-1 


9-27 . . 7-20 

.7-6 13 

8-1 15 

-0 16 12-19 

1949-50 Features 

Completed (22) In Production (3) 



Ti'.le — Running Time Cast Details 

Furies. The Stanwyck-Corey 12-5. 

Mr. Music Crosby-Hussey 11-7. 

Place In The Sun, A CI ft— Winters 10-24. 





After Midnight L->dd-Hendri» 2-28 

Captain China Payne-Russell 4-25 2-50 

Chicieo Deadlnc (87) Ladd-Rced 8-16 . 11-11 .. .4905 ... 8-29 

Details under title: One Woman 

Copper Canyon (T) Mi'lind-lannrr 4-2^ 

Dear Wife (88) Hoiden-Cau'fleld 1-17... 2-50 11-7 

Eagle and the Hawk. The Payne-Fleming 8-15... 4-50 

Fancy Pants Hope-Bail 7-4 

Details under title: Where Men Are Men 

Heiress, The (115) ('eH-v lland-Clift 7-5 9-12 

Let's Dance (T) Hu'ton-Astaire 7-18 

Lie. The Stanwyck-Lund 6-6 

Details under title: I Married A Dead Man 

Outrage Carey-Russell 

Paid in Full Scott-Cummings . 

Red, Hot and Blue (84) Hutton-Mature 

Riding High Crosby-Gray .... 

Rope of Sand (105) Lancaster-Calvert 

Samson and Delilah (T) (128) Lamari— Mature . 

September Fontainc-Cotten 

uetails under title: Abigail, Oear Heart 

Sunset Boulevard 

Thelma Jordon (100) 

Top 0' the Morning (J9) 

United States Mail 

Details under title: Postal Inspector 





. . 7-4 


. 4-50 


. . 9-23 . 


. . .7-4 










. . 1-50 






. .8-15. 



Title — Running Tlmt Cast Details Rel. No. 

Bank Dick (72) Fields-Mcrkel 8-49 

Doable Alibi (61) Morris-Lindsay 8-49 

Oracula's Daughter (71) Krugcr-Holdcn 7-49 

Frisco Sal (94) Foster-Bey 9-49 

Fury At Sea (92) Tone-Carroll 9-49 

Legion of Lost Flyers (63) Lundignn-Carson 9-49.. 

Never Give a Sucker an Even Break (7) Flclds-Jran 8-49 

Night Monster (72) Lugosl-Atwlll 7-49 

Spy Ring (61) Wymnn-Hall 8-49. 

Sun Never Sets, The (96) Falrbanks-Rathbone 9-49 

You Can't Cheat an Honest Man (79) . . . Fltlds-Bergcn 10-49 



1949-50 Features 

Completed (15) 
Completed (0) 
Completed ( 6) 

In Production (0) 
In Production (0) 
In Production (0) 











Title — Donning Time Cast Details 

Arizona Cowtoy Alien 4-25. 

Avengers, The Carroll-Mara 3-14 

Belle of Old Me ico Pod" grr-Rockwell ...8-29. 

Bells of Coronado (Tr) .... Reg r.-Evans 8-15 

Blonde Bandit, The Rockwell-Patrick 9-26 

Federal Arents at Large Tavlor-Patrick 11-21 

Fighting Kentuckian, The (100) Wayne-Ra!ston 3-28 

Details under title: A Strange Caravan 

Gonmen of Abilene Lane-Waller 11-7 

Kid from Cleveland, The (89) Brent-Bari 6-6.... 9-5 

Pioneer Marshal Hale-Hurst 9-26 12-24 

Port ef Missini Men He n;nn-Tcwcrs 12-19 

Powder River Rustlers (60) Lane-Walter 9-12 .. 11-25 ... 4961 

Redwood Forest Trail Allen-Donnell 11-7 

Rock Island Tra'l (C) Tuckcr-Mara 9-12 

Sands of Iwo Jima Wayns-Mara 8-1 

Savage Horde, The Elliott-Booth 5-23 

Details onder title: Crosswinds 

Singing Gjns (C) Monroe-Raines 10-24 

Sooth of Rio Lane 5-23. . .7-22 

Tarnished Patrick-Lydon 11-21 

Tr gg r. Jr Rogers-Evans 1?-19 

Twilight in the Sierras Rogers-Evans 10-10 

Unmasked Fuller-Rockwell 10-24 1-30 



.4901. . .9-12 


Alias the 

Bandit King of Texas 

Brimstone (Tr) 

Cole of the Silver Sage 

Down Dakota Way (Tr) (67) 

Flame of Youth (60) 

Details under title: High School Daughters 

Flaming Fury 

Frontier ' nvestigator 

Golden Stallion, The (Tr) (67) ... 

Hoose By the River 

Navajo Trail Raiders 

Post Offiee Investigator (60) 

Banger of Cherokee Strip 

Red) Menace, The (87) 

San Antone Ambush 

Wyoming Bandit, The (60) 

1948-49 ■ 

Rockwe l-George 

Lane-WaliT 5-23 

Cameron-Booth 4-11 

Lan:-Waller 12-19 

Rogers-Evans 3-28 

Fuller-Nolan 6-20 


. 8-29 . 
. .8-15. 


Roberts-Cooper 4-25 

Lane-Ford 2-28 

Rogers-Evans 5-23 

Hayward-Wyatt 6-20 

Lane-Waller 8-1 

Douglas-Long 6-6 

Hale-Hurst 8-15 


Hale-Hurst 8-15 

Lane 4-25 

. . . .9-9. . 

. .843. 

. .9-26 

.9-22. . 

. 816. 


. . . 7-28 . . 

. 812 

5-2. . 

. 865 

. 11-15. . 

. .844 

. .10-15. . 

. 868 

. . 9-1 . . 

. .815. 


. . .11-4 

8-1. . 

. .830. 


.11-4. . 

. 856 

. . .7-15. . 

. .865. 

. .8-15 


1949-50 Features 

Completed (43) In Production (4) 



Drama — Started Dec. 14 

Cast: Maureen O'Hara, Cornel Wilde, Gladys Cooper 
Director: Lewis Allen Producer: Jerrold T. Brandt 

Story: Further adventures of the Dumas characters. 





Title — Running Time 


Bit Steal, The (71) Mitchum-Bendix 1-17. 

Stagecoach Kid (60) Holt-Donnell 11-8. 


Eaiy Living (77) Mature-Ball 7-19. 






Details under title: 

Follow Me Quietly Lundigan-Patrick 8-30 7-18 

Make Mine Laughs (64) Lamb-Langford 5-23 8-15 

Mysterious Desperado Holt-Martin 4—11 

Savage Splendor (T) (60) Travelogue 8-1 


Arctie Fury (61) Cambre-Mlller 10-10 

I Married A Communist (73) Day-Ryan 5-9 10-10 

Strange Ba gain (68) Lynn-Scott 12-6 10-10 

Details under title: Sam Wynne 

Masked Raiders (63) Holt-Martin 6-21 10-10 

They Live By Night (95) O'Oonnell-Granger 7-7 7-5 

Details under title: The Twisted Road 


Dangerous Profession (79) Raft-O'Brien 5-9 11-7 

Details under title: The Bail Bond Story 
Holiday Affair (87) Mitchum-Leigh 8-1 12-5 

Details under title: Christmas Gift 

Riders of the Range Holt-Martin 5-9 

Threat, The (66) O'Shea-Grey 6-20 11-7 

Details under title: Terror 


Alice In Wonderland (T) Disney Cartoon 

Arizona Ambush Holt-Martin 

ied of Roses Fontaine-Ryan 

Blind Spot Colbert-Ryan . 

. .7-4. 
. .7-4. 




Capture, The Ayres-Wright 8-29 

Carriage Entrance Gardner-Mitchum 10-10 

Dynamite Trail Holt-Martin 9-26 

Gun Thunder Holt-Martin 10-24 

It's Only Money Slnatra-Rossell 12-« 

Mad Wednesday (80) Lloyd-Waiuurn 10-1.... 

Rev. under tale: Sin of Harold Dlddlebock 

Outlaw. The Russell-Beatel 

Range War Toll-Martin 8-1 

Stromboli Bergman-Vltale 5-9 

Details under title: After the Storm 

Tarzan and the Slave Girl Barker-Brown 9-12 

Treasure Island (T) Driscoll-Newton 

Under Arizona Skies Holt-Leslk 9-1 

Vendetta DeGeorgi -Brooks 8-19.... 

Weep No More Co ten-Valll 5-10 

White Tower, The Vat —Ford 8-29 ... 

Our Very Own Granger-Blyth 9-12.... 

Details under title: With All My Love 


Bride for Sale (87) Colbert-Young 3-14 

Details under title: Love Is Big Business 

Cinderella (T) (75) Disi-ey Cartoon Feature I 

Ichabod and Mr. Toad (T) (68) Disney Cartoon 9-12 

Man on the Eiffel Tower (T) Tone-Laughton 71 

Mighty Joe Young (94) Johnson-Armstrong 1-5 6-1 

Detais under title: Mr. Jos. Young of Afrlra 

My Foolish Heart (97) Andrcws-Hayward 7-4 11— | 

Roseanna McCoy (100) Granger-Evans 11-22 8-29 

She Wore a Yellow Ribbon (T) (103) Wayne-Dru 11-22 8-1 




Completed ( 6) In Production (0) 



Title — Running Time Cast Details 

Fallen Idol, The Richardson-Morgan ...Foreign 

Portrait of Jennie (86) Cotten-Jones 3-3 

Third Man, The Cotten-Valli Foreign 

Rel. No. 




1950 Features 
1949 Features 

Completed (18) 
Completed (44) 

In Production (4) 
In Production (0) 



Drama — Started Dec. 19 

Cast: Richard Widmark, Barbara Bel Geddes, Paul Douglas 
Director: Elia Kazan Producer: Sol Siegel 

Story: Not available. 



Title — Running Time Cast Details 

Cheaper By The Dozen (T) Crain-Webb 11-7. 

My Blue Heaven (T) Grab'e-Da ley 12-19. 

No Way Out Darnell-Widmark 11-7. 



COMPLETED . 1949-50 

Big Fall Garfield-Prelle 10-10. 

Black Rose, The Power 5-23. 

Broken Arrow Stewart-Paget 6-20. 

Details under title: Arrow 
Caribou Trail, The 

Scott-Williams 9-12. 


Come To The Stable (94) Young-Holm 1-3 

Everybody Does It (98) Darnell-Douglas 3-14 

Fan, The (79) Crain-Sanders 7-19 

Fighting Man of the Plains (C) (94) . . . Sco t-Jory 6-20 

Forbidden Street, The (91) Andrews-O'Hara June 

House of Strangers (101) Robinson-Hayward ... .12-20. . . July 

Details under title: East Side Story 

I Was a Male War Bride (105) G ant-Sheridan 11-8. 

Oh, You Beautiful Doll (93) S evens-Haver 1-3. 

Pinky (102) Crain-Lundigan 3-28.. 

Prince of Foxes (107) Power-Hendrix 11-8. 

Slavery's Hurricane (83) Widmark-Darnell 12-20. 

Thieves' Highway (94) Conte-Oakie 11-22. 

uet.iik under title: Hard Bargain 

Will James' Sand (T) (77) Stevens-Gray 7-5 . 

You're My Everything (T) (94) Dailey-Baxter 12-6.. 

Dakota Lil (C) Montgomery-Windsor 

Dancing in the Dark (T) (92) Powell-Stevens 4-11 

Details under title: The Bandwagon 

Front and Center Dailey-Townsend 7-4 

Gun Fighters, The Peck-Parker 10-10 

Mother D.dn't Tell Me McG Jire-Lundigan 6-20 

Details under title: Oh, Doctor! 

Night and the City Tierney-Widmark 8-29 

Three Came Home (106) Colbert-Marshall 5-9 

Ticket to Tomahawk (T) Dailey-Baxter 8-29 

Turned Up Toes Peters-Romero 7-4 

Twelve O'Clock High Peck-Mitche:i 5-9 

Two Corridors East Clift-Douglas 8-1 

Wabash Avenue Grable-Mature 6-6.. 

When Willie Comes Marching Home Dailey-Calvet 

Whirlpool (97) Tierney-Conte 


. Sep . . 
Nov. . 
.Nov. . 
Aug. . 
. Oct. . 

Joly. . 
Aug. . 

.922 . . . .7-1 
.926. . .9-11 
924 . 8-15 
.930 11-21 
.904. . . 5-23 
.919 . 6-2t 

.923. . .8-1 
.927. . .9-M 
.931 .10-10 
.929. . .8-2 


.924. . .9-li 



. 7-4' 


. . 005 J 

. . Jan. 

. . .001 llA 

. . Mar. 

.006 1 

. . . Mar. 

... 007 .1 

... Feb . 

. 004 .1 

Feb . . . 


Jaan . . . 

.002 .12-5 





1949 50 Features 

Completed (19) In Production (2) 


Ince over lightly 

Ipmedy — Started Dec. 5 

list: Wanda Hendrix, Edmond O'Brien, Rudy Vallee 
I rector: Albert S. Rogell Producer: 

Not available. 

Title — Running Time 

Lies Love 




I Wheel, The (92) 
|'k Magic (105) . 
Bjmpagne f or Caesar 

a o. 


lain Scout (71) . . 
« Cage, The 
luois Trail, The . 

jny Holiday 

any One-Bye 

I For Corliss (88) 
li Happy (91) . . . 
. eta'ls under tltlt: 
1 The 


. Young-Drake 


. .11-21. 





. Rooney— Mitchell 

. 7-4 . . 

. 11-5 . 
. . Ai:g. 

. R-S. 
. . . SmI 



. . . 8-29 . 


7-4. . 




. . .9-12. 

. Henreid-McCleod 


3-i4. . 


. . . i'r. 

. .5-9 


. . .7-5. . 


. Romero-McDonald 

. .11-21 

. Montgo~e-y-Marshall 

. 10-24 

. M-L 

H Miki' 
II «sand 
rT, The 

Bendix-Martin 8-1 ...... 


Temple-Niven 7-4. 11-25 

Marx Bros 8-2. . . .8-5 

Blondi Heaven 

Brando-Wright 11-21 

(S9 > Powell-Keyes 7-4 .. 12-17 ... Bis. 

Rooney-Cagney 3-28 R-S. 

Duryea-Storm 9-12 


•» Paradise Boyd-Brooks 9-1 BB 

|t Dan Patch, The (95) Russell-O'Keefe 12-6. . .7-22. ...Mas! . . . . . 

II Light (83) Mayo-Raft 3-14 . . . 9-30 Rdr 

|P' S Cradl6 Carillo-Renaldo 8-15 

■ Late for Tears (99) Scott-Duryea 9-27. .. .7-8. .. .Smg. ^4-H 

■tout Honor (69) Day-Tone 10-21 .... Hak ! 


1949-50 Features 

Completed (23) In Production (2) 



In „„ s , T 'o-'3 — «» n »>nB Time Cast Details 
■i on a Side Street Mason-Toren 12-5. 




■i and Evalyn (92) 

lad (T) (82) 

I Lagoon, The (T) (101) 

• ? Knife, The (T) 

■sneer's Girl 

lain Boyeott (92) 

■ lential Sqoad 

ItaMs under title: Web of the City 

fin Call at Cactus Creek 


Of Crossbones 

1 For All (83) . . . 


et (153) 

From Texas 

jind Pa Kettle Go To Town 

|de the Wall [ 

d O'Riordans (76) 

ffter \\ 

tails under title: East of Java 

i Sea Sinner (88) 

of Molly X. The (100) 

t Little Island (81) 

rtow (70) 

tails under title: Frameup 

in In Hiding (92) ) 

falls under title: Fugitive from Terror 


.Granger-Simmons Foreign ... Dec . . 

. O'Hara-Christian 6-6 . Nov . 903 . 12-5 

Jean-Simmons Foreign .. .Aug 8-15 

O'Hara-Cary 8-29 

. deCarlo-Friend 8-15 ...... ! 

. lenie-Kirby 4-26 

. Conte-Gray 11_7 . '. ' ' ' " ' '. ' '. '. ' ' ' ' 

O'Connor-Arden 2-28... 

. Toren-Chandler 10-10 .!!!!!!!!!!!!!! 

. O'Connor-Carter 10-10 

. Cummings-Biythe 7-4. . Nov 901 il-21 

O'Connor-Pitts 5-23... Nov 

.Olivler-Herlle Foreign 7_lo 

Murphy-Storm 6-6 '. . . 

Main-Kilbride 8-29 "... 

Basehart-Maxwell 9-26 ...... 

O'Malley-Pate Jan .' 

.Brady-Freeman 11-7 

Murphy-Hendrlx 9-12 

Winters-Carey 7-1... Jan 

Hzvoc-Brady 8-1. .. Nov 

Radford-Greenwood . . . Foreign . . Dec 
Brady-Kussel! 8-29... Dec. 

Lupino-Duff 8-15... Jan. 

902 11-21 

loned (79) 

C Meet the Killer, Boris Karloff . 

Manhunt (69) 

Jiity Jane and Sam Bass (T) (85) 
■topher Columbus (T) (104) .... 

■ Across the River (90) 

tails under title: Amboy Dukes 

■n', Fussln' and Flghtin' (78- 
Itails under title: The Wonderful Race at 

•Vho Took the West (T) (84) 

Itails under title: The Western Story 

III Entry (84) 

By Stool Pigeon (75) 

Itails under title: Partners in Crime 

■ Gambles, The (99) 

■Eater of Koaaan (79) 

■ More, My Darling (92) 

Woman's Story (86) 

■ in the Desert (100) 

Kir, That's My Baby (82) 

■in Hater (69) 



Abbott-Costello 2-28. 


deCarlo-Duff 10-25. 


Curtis-Jaeckel 10-11. 

O'Connor-Main 3-1. . 


DeCarlo-Brady 2-14 

Duff-Toren 12-20 

Duff-Winters 4-11. 

Stanwyck-preston 12-20 . 

Sabu-Page 12-22. . 


Todd-Rains Foreign . 

Andriws-McNally 3-14 . 

O'Connor-DeHaven 1-3. 

Granger-Fevlllera Foreign.. 

. Oct 
. Aug . 


. May. 


. Sep . 

. June 
. Ju:y. 



. 6<>5. . . 
. .699. . 6-1 
708 10-24 
. .694 



. . 698 . . . it 
,.700... -i 

.. 693 ... 5- 

. .666 7- 

. . 703 

.697 6-6 

. 709 . 8-29 


. .701 


1949-50 Features 

Completed (23) In Production (7) 



Comedy — Started Dec. 14 

Cast: Zachary Scott, Dennis Morgan, Betsy 


Directo r Breta^ne Windust 

Story: Not available. 

Drake, Edmund 

Producer: Harry Kurnitz 



Ti'.le — Running Time Cast De'ails 

Br ght Leaf Coo er-N al 12-5 

Colt .45 (T) Scctt-Roman J2-5 

Glass Menagerie, The 1 awrence-Wyman 11-7. 

Hawk and ihe Arrow, The Lancaste--Ma>o 

Storm Center Roce s-Rea;tn 12-5 

Vict m, The Crawford-3rian 

COMPLETED 1949-50 

«' e- N rhtf II Brhn-Reynolds 

Always Leave Them Laughing (116) Berle-Mayo 



Somewhere In the City 



Llndfors-O'Brlen 8-16. 



De'ails im-Vr 

"* r '"de Clark-Massey 

Beyond the Forest (96) Dav s-Cotten 

Cage, The Parker-Moorhead 

Casablanca (102) Bogart-Bergman 

Castle on the Hudson (77) Garfield-Sheridan 

Chain Lightning Bojart-Parker 

. . 4-25 . 

. . .6-6. 

... 8-1 . 
Reissue . 


.906... 11-7 


. . 4-9 . . 


Farewell to Arms (78) Hayes-Cooper 

Hasty Heart, The (99) Re'gin-Neal 

Hatche man. Tin (74) Rabir.son-Youn 

Inspector General. Ths (T) (102) Kaye-Batei 

Details under title: Happy Times 
Lady Takes A Sailor, The (93) Wynrn-Mcrg 

Details under title: Octopu< and Miss Smith 
Montana <T) Flynn-Smith 

D tails under title: Colorado Terltory 

Perfect Stra-gers R"ge-s-Mnr"-'n 

Retorn of the Frontiersmen MacRar-Calhoun 


Silver Lining (T) H?v 

Stage Fright Wvma-- p, i°t-ieii 

Story of Seabiscuit, The <T) (93) Temple-McCa lister 

Details under title: Always Sweethearts 

Task Force (116) Cooper-Morris .. 

This Side of the Law Lindfors-Smlth 

Details under title: "Deadlock" 

Under Capriccrn (T) (117) Bergman-Cotten 9-27 

White Heat (114) Tagn-y-Mayo 5-23 

Young Man With A Horn Douglas-Bacall 7-18 

. 6-6 


8-29 . 



. T9 


. . 1-14 . . 





. 910 






.12-31. . 

. .512 



12-24 . . 








4-9 . 



7_4 .... 

4-25. .11-12. 


907. . .11-7 
.903. . .9-12 

.10-8 S->1 9-26 

. .9-3 . . . 901 .8-29 

Your Service — Out Responsibility 


Member Nat'l Film Carriers 

250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 


We thank all theatre owners and managers who 
cooperated with us by putting return trailers in the 
proper addressed containers and for wrapping 
ar:d addressing all return advertising. 

We can serve all theatres better if they give us 
a copy of their program Tuesday each week. 


Don't put your return film in the lobby until nil your 
patrons lime loft after the lust show, 


236 N. 23rd S(., Phila. 3 — 1239 Vine St., Phila. 7 
LOcusI 1-0100 

Member National Film Carriers 

. .7-4 


Colorado Territory (94: McCrea-Mayo 6-11 824. 

Flamingo Road (94) Crawford-Scott 9-27 ... 4-30 ... 821 

Fountalnhead, The (113) Cooner-Nealo 7-19 .... 7-2 ... 827 

G-Man (85) Cagney Reissue . .6-18. . . .826 

Girl from Jones Beach, The (78) Reagan-Mayo 5-24 . .7-16 828 7-4 

Look for the Silver Lining (T) (106) Haver-Bolger 4-26 7-30 ... 829 ...7-4 

My Dream Is Yours (T) (lOi i Carson-Day 4-12 .4-16 820 . 3-28 

Night Unto Night (84) Lindfors- Reagan 9-30.. 5-14 822... 4-25 

NUARY 2, 1950 


/fob dzz&fcgdd f 

Wishbones are fine at Sunday dinner, but . . . 

No smart Showman will risk his business on 
the whims of a good luck charm-because he knows 
that Trailers and Accessories represent an inexpen- 
sive investment in the kind of showmanship that 
sneers at superstition. 

Good luck is a handy commodity, but good 
salesmanship is safer. And selling is surer, easier, 
when NSS Trailers and Accessories are an important 
part of YOUR advertising efforts! 

They're your least expensive, most expressive 
selling aids ! 


\_J pn/Zf hp fir i 


of me wdustrv 


nyfAX Meow 



1 i 






*<^n Half. mie . 



T his ha 






t"y- Tin 

°f ' pair 

ab c 


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a "d Sixth 
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pcotf Ci a 




Screen Play by Adolph Green and Betty Comden - Based upcj 
the Musical Play • Directed by GENE KELLY and STANlK 
DONEN. Produced by ARTHUR FREED- An M-G-M Pictflj 



Vol. IS. No. 2 January 16, 1950 

Page Three 


OKE of the greatest labor- 

saving inventions of today is 

tomorrow . 

—Vincent T. Foss. 

In what are described as "five cardinal principles", Universal-International 
\ ice president and general sales manager William A. Scully has set forth his 
company's distribution policy for this year. Some of these principles, which 
are to be enunciated to the U-I sales organization at forthcoming meetings in 
INew York and St. Louis, are clear and have a lofty ring, while others are 
ambiguous and subject to conflicting interpretations. Let s take a look at them: 

"1. For an equitable solution of clearance problems so that we may 
extend to every exhibitor the most reasonable playing time. To do this we 
must survey the theatre situation in every city, town and village." 

The reduction of excessive clearances is a most worthwhile objective and 
Universal will deserve the plaudits of independent exhibitors if this is carried 
through with good judgment. 

"2. To impress our entire sales organization that Universal wants to do 
everything possible to service the greatest number of exhibitors regardless op 
any past experience. This is a new day and new tactics must be adopted." 

"3 To especially indoctrinate everyone in Universal's sales department 
with the idea that this business will only prosper if both distributor and ex- 
it ibitor get a square deal.'' 

We lump these two points because they are inextricably intertwined. The 
desire to service the greatest number of exhibitors and to give them "a square 
deal" is meritorious. It would be interesting to know what Mr. Scully's plans 
are in this direction, what are to be the "new tactics". One of the weaknesses 
of l T -I"s sales policy in past years has been the insistence on top percentage 
terms for a certain number of pictures, sometimes with seeminglv little regard 
for their actual box office value. We believe this company has failed to sell 
many hundreds, perhaps thousands, of situations because of home office in- 
transigence on film terms. Exhibitors would welcome an interpretation of 
these principles to mean that there will be greater branch office autonomy in 
the future, and the distributor might well profit greatlv under such a system 
by selling many more accounts. 

"4. To do everything possible to stop lawsuits which are being unreason- 
ably brought bv exhibitors who could easily settle their differences if they 
could spend as much time consulting with film company's representatives as 
they do with lawyers." 

"Easily," Mr. Scully? 

"5. To impress upon all members of our sales organization that exhibi- 
tors should see films before they discuss them. It is becoming more and more 
important to realize that sales for any company's merchandise can not be fair- 
ly negotiated unless the customer shows enough interest to look at the film 
he is buying, so that after he does buy it, he will have some idea as to how 
to sell it to his patrons." 

There can be no disagreement with the purpose of this point. Mr. Scully 
could perforin a real service by adopting the Big Five's policy of trade show- 
ing every U-I release in all exchange centers at appointed times. 

We have examined Mr. Scully's five cardinal principles, as they stand on 
paper, rather briefly. There will be much more to be said after they have 
met the test of actual operation in the field. 



fILM BULLETIN — An Independent Motion Picture 
Trade Paper published every other Monday by Film 
Bulletin Company. Mo Wax, Editor and Publisher. 
BUSINESS OFFICE: 75 West 45th St., New York, 
19; Circle 6-9159. David A. Bader, Business 
1239 Vine St., Philadelphia 7, Pa., R I Hen- 
house 6-7424; Barney Stein, Managing Editor; Jack 
Taylor, Publication Manager; Robert Heath, Circu- 
lation Manager. HOLLYWOOD OFFICE: 659 Haver- 
'ord Ave., Pacific Palisades, Calif., Hillside 8183; 
lay Allen, Hollywood Editor. Subscription Rate: 
INE YEAR, $3.00 In the United States; Canada, 
.1.00; Europe, $5.00. TWO YEARS. $5.00 In the 
Inited States; Canada, $7.50; Europe, $9.00. 

None of the many worthy causes which claim the effort and the big heart 
of show business merits more ardent support than the annual Brotherhood 
Week, sponsored by the National Conference of Christians and Jews. For one 
week each year, this wonderful organization asks each of us to lend a band in 
focusing attention on a duty t hat is really a year-round obligation of all true 
Americans — the practice and promotion of brotherhood between people- oi 
tsll faiths. 

This year Brotherhood Week is February 19-26. A hard-working com- 
mittee, headed by J. Robert Rubin. Ted Gamble and Max E. Youngstein, has 
rolled up its sleeves, pushed aside personal duties and girded itself for an 
intensive five-weeks campaign. They will not succeed without your help. 

Most of all, this is a task for the theatremen of America. But, everj mem- 
ber of every branch of the motion picture industry yes, you will be 
asked to do something to dramatize the practical things which people can do 
to further understanding and realization of the ideals of brotherhood, \nd. 
al ven least, eac h of us will he asked to enlist the membership of ten people 
in the MCCJ at one dollar per year. 

No one should have to be asked twice in this cause, or even reminded 
twice. Let s start the second half of this centurj with our faces in the sun, 
our theme — Brotherhood. 

— MO \\ \\. 


"One of the greatest pictures of 
ANY year!" says Billy Wilkerson. 
"An event in the industry!" says 
Chick Lewis. "A potential grosser 
of heroic proportions!" says Chet 
Bahn. "A contender for Academy 
Award honors!" says Jay Emanuel. 
"Superior, poignant, stirring drama!" 
says Harrison Reports. "Rates 17- 
gun salute from the industry!" con- 
cludes M. P. Herald. 

'The best picture I've seen this 

yeaxV—Hedda Hopper 

'When Academy voting time 
comes, it will be the 
picture to beat!" 

— Louella 0. Parsons 



Produced by DARRYL F. ZANUCK • Directed by HENRY KING 

Screen Play by Sy Bartlett and Beirne Lay, Jr. • Based on the Novel by 
Beirne Lay, Jr. and Sy Bartlett 

/ I 



As it comes every year at this time, 
iroduetion predictions for the forthcom- 
hg twelve month were rife. Most inclu- 
ive were those of the heads of the two 
lajor producer associations, Eric Johns- 
pn for Motion Picture Ass'n of Ameri- 
ja, and Ellis Arnall, Society of Indepen- 
ent Motion Picture Producers. While 
pth registered optimism, the future was 
lightly larded with "buts." 

Johnston saw production problems in- 
reasing, but "nothing to indicate that 
le industry will ever be flat on its back 
r destroyed. Quite the contrary. If 
e can surmount the obstacles as they 
pme along, and we've been doing it, we 
rill be stronger, more prosperous than 

The MPAA president revealed that the 
idustry will have liquidated all but about 
5,000,000 in frozen funds from England 
y June when the two-year Anglo-Ameri- 
an agreement ends. A total of more 
lan $100,000,000 was retrieved from 
>reign countries in 1949, he disclosed, 
bout $39,000,000 of this was forthcom- 
kg from England, including the $17,000,- 
DO called for by the agreement, after 
h>ss of about $60,000,000. 
oreign Problem 

The foreign situation, with tightened 
ptrictions, was still one of the produc- 
s' major problems, he noted. Another 
j television, Johnston declared, but saw 
le medium as a "stimulant" eventually, 
ie said the MPAA video committee "is 
jming to the conclusion on the basis of 
jagmentary facts now available, that the 
edium cannot thoroughly be developed 
v having advertisers pay the bill." He 
resaw the eventuality that TV would 
[aw closer to newspapers and magazines 
the breakdown of income, where the 
bublic paid almost the same amount (as 
Ivertisers) for the privilege of reading 

In any case, he felt that television 
puld come to be increasingly dependent 
bon films. He discounted the possibility 
at TV would decrease the demand for 
pod theatre entertainment. "Any new 
pn of entertainment has always increas- 
1 the desire for other good entertain- 

ix Repeal 

He also saw a good chance that the 
resent Congress will take action on re- 
la} of at least the wartime federal ad- 
lissions tax. He felt it was imperative 
at the industry maintain vigilance 
ainst attempts by state and municipal 
!>vernments to substitute their levies if 
e federal tax is lifted. 
Arnall's observations were more limit- 
in scope, centering principally about 
/orcement and the outlook for indepen- 
nt producers. Actually, they were tied 
?ether to make a very promising pack- 
e for 1950, Arnall indicated. When ab- 
iute divorcement is attained, he said, 
te majors will be independent produc- 


Volume 18, Number 2 
January 16, 1950 

JVqmvs anii Opinion 


"The Industry Will Be Stronger" 

Divorcement Aids Indies 

"Nothing has taken place within the 
industry as revolutionary or far reaching 
as the results which will accrue to inde- 
pendent producers by reason of the court 
decisions requiring divorcement of pro- 
duction-distribution and exhibition," he 
declared. "When buying booking combin- 
ations and local, state and regional ex- 
hibition monopolies have been smashed, 
the independent producer will at long 
last have a chance to market his product 
in a freely competitive market. Prob- 
lems of financing for independents will 
be solved as quickly as wholesome com- 
petitive exhibition opportunities are 
created. Banking and private production 
loans will be repaid and an experience 
of successful operation will be developed. 
When banks know independent produc- 


"The Majors It ill He Independents" 

ers make money and repay their loans, 
credit terms will be liberalized." 

The Society's "chief targets" have been 
and will continue to be "big theatre cir- 
cuits owned by so-called major studios 
and large combines owned by other sub- 
stantial interests or theatres which are 
pooled for buying purposes." 


Governor Dewey made himself persona 
non grata with the motion picture in- 
dustry. Taking a most inopportune time 
to urge the New York State Legislature 
to take over imposition of excise taxes, 
the chief executive of the State brought 
the wrath of the entire film industry 
down upon his head with his statement 
that "Federal taxes, such as those on 
gasoline and amusements, should be 
given up and made available for state 
imposition." Dewey's declaration was 
made just as the industry was girding 
its loins for an all-out fight to remove 
the discriminatory Federal tax. 

Spokesman for the industry in its uni- 
fied battle, COMPO tax committee chair- 
man Abrams F. Myers, immediately 
caught up the gauntlet and served no- 
tice that the industry will fight any move 
to replace the Federal tax with state or 
municipal ticket taxes. 

In a letter to the Governor, Myers took 
a firm stand against Dewey's recommen- 
dation for "repeal of an unjustified and 
burdensome federal tax merely to replace 
it with an equally unjustified and dis- 
criminatory state or local tax." 
Taxed Because It's Easy 

"To single out our industry for a spe- 
cial tax seems to us to be arbitrary and 
unreasonable," Myers wrote. "We can 
think of only one reason for the imposi- 
tion of such a tax — it is easy to col- 
lect. But merely because the theatre 
cashiers can be made to do the work of 
the tax collector without expense to the 
state is not a valid reason for advocating 
this special tax. In opposing a tax on 
admissions we feel that we are not mere- 
ly speaking for the motion picture in- 
dustry but are voicing the sentiments of 
millions of movie-goers, the vast major- 
ity of whom are low income, family 
people. Also, we speak for the many 
workers in all branches of our industry 
whose jobs are jeopardized by the grow- 
ing threat to tax the movies out of 

Myers described independent exhibitors 
as "small business men who operate on 
a narrow margin of profit. Their means 
of livelihood can be destroyed by a com- 
paratively small falling off in attend- 
(Continued on Next Page) 


REVIEWS in this Issue 

When Willie Conies Marching Home 9 

Malaya ___9 

East Side, Wesl Side _ __10 

The Great Rupert 10 

South Sea Sinner 10 

Paid in l ull 18 

Francis IS 

Guilty of Treason is 

News and Opinion 

(Continued from Preceding Page) 

ance." The federal tax was a "large 
contributing factor" towards the drop in 
attendance since 1946, Myers said. He 
also pointed out that the industry in 
New York State alone reDresented in- 
vestments running into billions of dol- 
lars and does not complain about paying 
its just share of taxes. "But it bitterly 
resents, and invokes its constitutional 
nght to protest, being singled out for 
discriminatory treatment." 

Same As Newspapers 

Declaring, "We cannot conceive of 
your advocating a special tax on news- 
papers, magazines and books," Myers 
told the Governor that movies should be 
classed with newspapers as "an impor- 
tant part of the communications indus- 
try and as such are entitled to the same 
consideration that is accorded by the fed- 
eral government and the state to the 
press . . . Certainly, you, as Governor of 
New York, are keenly aware of the mes- 
sage value of the screen. V/e seem to 
recall that the State of New York itself 
has delivered to the theatres and urged 
them to exhibit films dealing with vari- 
ous state projects such as juvenile de- 
linquency, racial discrimination, high- 
ways, etc." 

With rising costs making impossible 
any cut in the admission price itself, 
Myers explained that the movie industry 
"urgently needs relief from the existing 
federal excise tax; there is little pros- 
pect that when that relief is forthcoming 
it will be in any condition to bear up 
under additional state or local tax 

Myers Calls Meeting 

"We express the hope that in your 
usual fair and thorough manner you will 
consider carefully all of the facts and 
arguments herein set forth and others 
with which we have not burdened this 
letter but which will readily occur to 
you; and that, as the result of your fur- 
ther consideration, you will maintain 
your stand in favor of repeal of the 
federal amusements tax and abandon all 
thought of supplanting it with state or 
local taxes on amusements. " 

Chairman Myers also issued a call for 
the COMPO taxation committee to meet 
in Washington January 17th, when it 
will review progress since the Dec. 20th 
meeting. "It is not expected that blue 
prints of the nation-wide campaign will 
be forwarded to the exhibitors and ex- 
changemen until the President's message 
has been delivered, unless that message 
is unduly delayed," Myers said in an- 
nouncing the meeting. "Meantime, the 
Committee hopes that all organizations 
and individuals in this industry will 
square away for prompt action. There 
will b2 work for all in making the coun- 
try not merely excise tax conscious, but 
movie tax conscious." 

All-Industry Fight 

That exhibition alone would not bear 
the brunt of the tax fight was thus made 
clear. Earlier, reports were heard that 
the "press book" being prepared by 
COMPO for the tax battle would be sent 
only to exhibitors. It was evident that 
all branches would take part in the 
battle as the campaign plan goes into 
the mails today (16th) to exhibitors, ex- 
changemen and studio personnel. 

The "President's message" mentioned 
by Myers was in reference to President 
Truman's declaration in his State of the 
Union message to Congress Jan. 4th in 
which he said he would ask for various 
tax changes "to reduce present inequities, 
stimulate business activity and yield a 
moderate amount of additional revenue," 

but did not specify which taxes would 

be amended. The President said he ex- 
pected to make "specific recommenda- 
tions on this subject at an early date." 


Adman Host 


In a bid to surpass its first — and high- 
ly successful — showmanship meeting in- 
itiated last year, 20th Century-Fox sched- 
uled its "Second Annual Showmanship 
Meeting" for January 25-27 in New York, 
inviting leading advertising and publicity 
representatives of the nation's major inde- 
pendent and affiliated theatre circuits. 

Designed to facilitate interchange of 
ideas among the industry's top ad-publi- 
city men in exhibition and 20th-Fox, the 
three-day confabs will see some 75 guests 
on hand to hear new promotional plans 
and twists on the old ones. Addressing 
the admen, publiciteers and exploitation 
experts will be president Spyros P. Skour- 
as, vice-presidents Al Lichtman, Andy W. 
Smith, Jr., and Charles Einfeld, who will 

In addition a special panel of speakers 
consisting of A. F. Myers, Allied States 
board chairman and general counsel; Bos- 
ley Crowther, famed critic of the New 
York Times; and Louis Ruppel, editor of 
Collier's Magazine, will add luster to the 

Purpose of the meeting was expressed 
as fourfold: 

1. To implement 20th-Fox's established 
policy of cooperation between exhibitor 
and distributor. 

2. To discuss, merchandising plans for 
20;h-Fox pictures. 

3. To utilize the ideas arising from 
the conference in preparing campaigns 
for all exhibitors. 

4. To exchange ideas on general indus- 
try problems affecting both exhibition and 

In addition to discussing new merchan- 
dising ideas, trailer improvements, tele- 
vision, outdoor advertising and other 
topics involving selling a picture to the 
public, the guests will see several of the 
company's most important pictures for the 
coming year and will attend the world 
premiere of "Twelve O'clock High" at the 
Roxy, January 26th. 

One of the most important individual 
subjects on the agenda will be the prob- 
lems involved in developing a young au- 
dience for films. This will include an 
analysis of pioneering efforts in bringing 
children into the theatre through the 
media of children's matinees, special pro- 
gramming, and increased exploitation 
effort aimed at their particular age 
groups. Stimulation of new patronage 
among the older potential moviegoer will 
also be discussed. 


The remaining Big Three in the indus- 
try anti-trust suit Loew's, Warners 
and 20th-Fox — are seeking to evade the 
Supreme Court edict and to gain advan- 
tages denied to Paramount and RKO who 
have bowed out of the suit via consent 
decrees. This was the charge levelled 
by the Department of Justice in its brief 
filed last week with the Statutory Court 
prior to reopening of hearings scheduled 
for January 17th. 

In effect, the Government wants the 
current defendants to have no benefits 
because they remained to battle the case 
down to the bitter end, rather than come 
to terms as did Para and RKO. As in 
the case of the latter two, the Depart 
ment asked that the Big Three be limited 
to one year in which to effect divorce- 
ment. The Court was also requested to 
turn down a defense petition that a di 
vorcement plan be presented after one 
year with separation to be finalized in 
five years. The Government also took 
exception to the defendants' proposal 
that divorcement, if ordered, be subject 
to review after three years of the five, 
with an eye to rescinding the divorce- 
ment order if the situation at that time 
showed to the Court's satisfaction that 
it was no longer necessary. 

The defense proposals, it was con- 
tended, would only serve to drag out 
proceedings for "indefinite years. Fur- 
thermore, it would afford these defend- 
ants, who have shown no awareness of 
their violation of the Sherman Act and 
no desire to terminate their illegal acti- 
vities and illegal status by a judgment 
of this court designed to effect those 
ends, a preferential position vis a vis 
those of the defendants (RKO & Para- 
mount) who, in an effort to make 
amends for their violation and provide 
for a restoration of competition, have 
agreed to a judgment of divorcement." 

The Government reaffirmed its demand 
for a ban against future theatre acqui- 
sitions by the distributors. According 
to the brief, should the defendants ac- 
quire theatres without restrictions and 
license their films to these theatres unJ 
checked, then the provision requiring 
sale of product without discrimination, 
theatre-by-theatre, would be nullified. 

Meanwhile, negotiations between War-J 
ner Bros, and the Government continued 
in an effort to reach a consent agree- 
ment before the trial date. 20th-Fox, 
too, was having talks with the Justice 
Department toward the same end, but as 
of late last week, there was no announce-! 
ment of an impending settlement. M-G-M 
was the lone holdout, preferring to take 
its chances on a court decision. 

{More NEWS & OPINION, Page 8>j 


AV»if.v and Opinion 


To the much-belabored movie industry, 
it was like a breath of Spring after a hard 
Winter to hear an extra-industry group 
say something complimentary about mo- 
tion pictures. The group was the Pro- 
testant Motion Picture Council; their ver- 
dict after examination of last year's pro- 
duct: Hollywood has turned out more 
films in 1949 suitable for general family 
entertainment than in any previous year. 

This welcome news from a highly-rated 
religious organization ("The Council finds 
that the movie industry is succeeding in 
its endeavor to give the public more whole- 
some and worthwhile pictures") finally 
gave Hollywood a chance to lift its head 
after its verbal beatings from other re- 
ligious groups, columnists, Congressional 
would-be critics, and other self-styled 
judges. The Council previews and ap- 
praises films for Protestants, including 
the ten million members of the United 
Council of Church Women. 
Twelve Winners 

The Council chose twelve features — one 
best for each month of the year, taking 
in the period from December, 1948, 
through November, 1949. In chronological 
order, they are: "The Snake Pit," "Joan 
of Arc," ""The Boy With Green Hair," 
"Command Decision," "Down to the Sea 
in Ships," "The Stratton Story," "Home of 
the Brave," "You're My Everything," 
"Lost Boundaries," "Christopher Colum- 
bus," "Jolson Sings Again," and "Samson 
and Delilah." 

"Exceptional merit" ratings were award- 
ed to nine additional films: "Nanook of 
the North," "Day of Wrath," "Scott of 
the Antarctic," "The Quiet One," "Night 
Unto Night" "In the Good Old Summer- 
time," "Roseanna McCoy" and "Savage 

Entertainment Gauge 

The winning pictures, which reflect the 
majority opinion of the Council's forty 
previewers, were chosen primarily on the 
basis of their entertainment merit, as well 
as for their moral, ethical and social val- 

The breakdown: Of 322 features pre- 
viewed last year, 233, or 72%, were classi- 
fied as suitable for "adults and young peo- 
ple." Of this number, 82 were recom- 
mended for children as well. 

The PMPC positive approach was wel- 
comed by the industry, which heretofore 
had received a negative reaction to its 
output, i.e. "unobjectionable for general 
patronage," "unobjectionable for adults," 


After five years of distributing J. 
Arthur Rank's British product to reluc- 
tant American exhibitors, Universal-In- 
ternational thinks it has the answer to 
the problem posed by exhibitors' anathe- 
ma to playing English films. U-I will at- 
tempt to prove this with its new plans 
to make the British films palatable to 
U. S. theatremen and public. 

In an announcement by U-I's sales 
vice-president William A. Scully, the com- 
pany revealed that it had revised distri- 
bution methods for the JAR product. 
Based on the experience gained in the 
past five years, the plan will be to mar- 

ket the films to suit the situation: In 
large metropolitan areas, experience has 
shown that most of these pictures do 
best when shown to selective audiences 
in the "specialized theatre." Consequent- 
ly, Scully says, that is how most of these 
films will be distributed. However, any 
of the JAR productions considered to 
have general or mass appeal would be 
distributed along conventional lines. 
Among the latter, Scully named "Ham- 
let," which, he said, has done good busi- 
ness in all types of theatres. 

"Those exhibitors who have been will- 
ing to give special attention to the J. 
Arthur Rank productions have done ex- 
ceedingly well," he stated. "It is true 
that many exhibitors did not have the 
opportunity to allot the necessary time 
for preparing their particular communi- 
ties for this type of picture. On the other 
hand, many theatres throughout the 
country have converted their policies to 
the format which makes their theatres 
symbolic with the exhibition of these pic- 
tures. We believe our company has ren- 
dered a service to the industry in general 
with the spadework we have done in the 
last five years to establish the value of 
good British productions." 

The majority of Rank productions will 
be distributed through the Prestige sales 
unit, but special field work will be in- 
augurated through the branch offices for 
the purpose of creating new opportunities 
for their exhibition. Irving Sochin, for- 
merly Cincinnati branch manager, was 
named by Scully to direct the distribu- 
tion efforts for the Rank product. The 
sales topper also revealed that L. J. Mc- 
Ginley has resigned as special represen- 
tative of the Prestige division. 


The new United Paramount Theatre 
Corp. lost no time in laying the ground- 
work for its future operation and made 
it clear that television was going to play 
a major role in the future. President 
Leonard Goldenson, prophesying the day 
when 15,000 theatres will be equipped to 
show large-screen TV, put UP in the van- 
guard as he revealed that the chain was 
applying to the Federal Communications 
Commission for video stations in San 
Francisco and Minneapolis. Pending are 
applications in Detroit and Boston, and 
the chain already has WBKB in Chicago. 

As for setting up facilities for theatre- 
size TV in the chain, Goldenson indicated 
that the process would equip houses in 
large cities first. In addition to the two 
theatres already equipped with the Para- 
mount system (New York and Chicago), 
large-screen facilities are being readied 
for houses in Detroit, Boston, San Fran- 
cisco and Minneapolis. Eventually, he 
said, it is possible that all theatres in 
the circuit will be equipped either with 
the Paramount system or any subsequent 
development which might improve on the 
system. "By kinescoping the programs," 
he added, "we could get them to the 
smaller houses in a matter of minutes." 

TV Hypos Industry 

Goldenson visualized theatre TV as 
holding the same potentialities for re- 
juvenating the movie industry as did 
sound films. The present $25,000 cost 
for installation, he said, should be pared 
down by mass production to somewhere 

between $10,000 and $5,000, which should J 
put it within reach of virtually all! 

As for programming, Goldenson sawH 
the new medium as an adjunct to reg- 
ular film fare. The theatre TV presenta-I 
tion, even if it is not exclusive, will bel 
superior to home reception. "The thea-1 
tre has a disciplined audience which is4 
concentrating on the program, whereas! 
in the home there are other diversions! 
taking place at the same time." Thus, 
he noted, subject matter for theatre tele-I 
casts could be more subtle and refined." j 
O'Brien, Weitman Named 

Named to head the chain's TV pro- 1 
gram was Robert H. O'Brien, secretary-1 
treasurer of UP and Robert Weitman.j 
managing director of Paramount thea-1 
ties in New York. Jason Rabinowitz 
will serve as O'Brien's special assistant 
on television matters. 

O'Brien's activities will depend on the . 
response by the FCC to the request byl 
Paramount, Fox, TOA and other indus- 
try elements which have petitioned for 
an open hearing on the granting of high 
frequency channels. The various peti- 
tioners are seeking to convince the FCC 
that such grants would benefit both the 
public and television as well as them- 
selves, pointing out that the country's 
18,000 theatres would provide showcases 
and talent, under the supervision of ex-l 
perts long trained in providing enters 
tainment on a mass scale. 


Very few employes in the motion pic-I 
ture industry can boast of 30 years as- 
sociation with one film company. One 
of these is William R. Ferguson, 
M-G-M"s exploitation director, whose 
term of service will end in a few weeks. 
Vice-president and director of advertis- 
ing, publicity, exploitation Howard Dietz 
reluctantly made the announcement of 
Bill Ferguson's retirement from the 
company, at the same time revealing 
that he will be succeeded by Dan S. Ter- 
rell, who has been assistant to Ernest 
Emerling, Loew's Theatres ad-exploita- 
tion head. 

Dietz also disclosed that John Joseph, 
who joined Metro last March, has as- 
sumed charge of the company's publicity 
activities in the east, taking over the 
post formerly held by Herbert Crooker, 
who will be given special assignments 
on specific big pictures. Joseph has been 
serving as special aide to Dietz, acting 
as liaison between the home office and 
the studio. 

One of the best-known men in filnJ 
promotion, Ferguson has been respon- 
sible for the direction of numerous fa- 
mous merchandising stunts, including 
the "Trackless Train" of 1924, the! 
M-G-M Traveling Studio, the traveling 
M-G-M screen tests, the "Marie Antoin-j 
ette, museum tour, and the history- 
making Atlanta opening of "Gone Withi 
the Wind", to name a few. 

In 1934-35, as president of AMPAj 
Ferguson inaugurated a series of shown 
manship luncheons that became the 
talk of the industry. 

The outgoing veteran is due to leavj 
Feb. 1, to devote his time to his own 
private interests. 

V T 1 AT ]\ \ I I. E T I M 


Rates • • • generally on word-of-mouth 

20th Century Fox 
83 Minutes 

Dan Dailey, Corinne Calvet, Colleen Town- 
send, William Demarest, James Lydon, 
Lloyd Corrigan, Evelyn Varden, Kenny 
Williams, Les Clark, Charles Halton, Mae 
Marsh, Jack Pennick, Mickey Simpson, 
Frank Pershing, Don Summers, Gil Her- 
man, Peter Ortiz, Luis Alberni, John 

Directed by John Ford. 

Highly reminiscent of Preston Sturges' 
most successful satirical rib-ticklers, such 
as "Miracle of Morgan's Creek" and "The 
Great McGinty," is ace director John 
Ford's initial fling at comedy, "When 
Willie Comes Marching Home." Hereto- 
fore master of high drama, usually in a 
western setting, director Ford has turned 
his fine talents to barbed hilarity and has 
wrought a farcical spoof of those who 
would be war heroes and those who wor- 
ship them, that builds from chuckles up 
to broad belly-laughs. Here is an ideal 
film for the entire family — those who 
overlook the subtleties will laugh just as 
heartily at the broader comedy that per- 
meates the picture, particularly the lat- 
ter half. Although Dan Dailey is the only 
marquee name of any consequence, cri- 
tical acclaim and word-of-mouth should 
parlay "When Willie Comes Marching 
Home" into a bountiful grosser, parti- 
cularly if the film is properly exploited. 


The current buildup of French charmer 
Corinne Calvet won't hurt either. 

The screenplay by Mary Loos and Ri- 
chard Sale is expertly constructed. It 
starts off in a leisurely manner, laying 
the groundwork for the fireworks that 
are to follow and that bring the film to 
a hilarious climax. Dan Dailey has easi- 
ly his best role to date as the patriotic 
boy, idolized by the home-townsfolk when 
he becomes the first to enlist after Pearl 
Harbor, only to earn their disdain when, 
despite all his efforts to go into combat, 
he remains here as an instructor. Dailey, 
in fact, arouses such heartfelt sympathy 
for his plight that when he finally leaves 
'he ground in a bomber bound for over- 
seas, there was a spontaneous :ound of 
applause from the sneak preview audi- 
ence. The hectic events that follow to 
make him a war hero bring the film to 
a spinningly hilarious finish to leave vhe 
fans in a bright and talkative mood. 
Good performances are forthcoming from 
the supporting players: Corinne Calvet 
as a French Maquis girl; Colleen Town- 
send as the "hero's" home-town girl; 
William Demarest as his father, a blus- 
tering veteran of World War I; James 
Lydon as the girl's kid brother who be- 
comes a hero while Dailey fumes in the 
States; and Evelyn Varden as Dailey's 
mother. Leo Tover's camera work is up 
to director Ford's high requirements. 

STORY: The small town of Punxsu- 
tawny, W. Va. becomes highly war con- 


96 minutes 

Spencer Tracy, James Stewart, Valentina 
Cortesa, Sydney Greenstreet, John Hodiak, 
Lionel Barrymore, Gilbert Roland, Roland 
Winters, Richard Loo, Ian MacDonald, 
Tom Helmore. 
Directed by Richard Thorpe. 

This lengthy, slightly fantastic, but nev- 
ertheless entertaining Metro melodrama 
qualifies as an above-average boxoffice 
attraction generally on the strength of an 
all-star cast that glitters with highly-rated 
marquee names. And even better grosses 
will be a certainty in action houses where 
such improbable adventure vehicles usual- 
ly delight the regular patrons. Based on 
this country's dire need for raw rubber 
during the recent war, "Malaya" relates 
the tale of the extreme risk run by un- 
known, and hitherto unheralded, heroes 
who smuggled that priceless commodity 
out of Jap-held Malaya. Unfortunately, 
the plot fails to measure up to a standard 
befitting the film's top-notch cast. The in- 
credulous hijinks the rubber-runners get 
away with right under the nose of the 
enemy are just too much to believe, while 
the anti-climactic finale, a totally unneces- 
sary scene which serves only to confuse, 
stands out as the major flaw in Richard 
Thorpe's otherwise competent direction. 

JANUARY It), 19 5 0 

Spencer Tracy will delight his fans with 
his tough, cynical portrayal of a hardbit- 
ten smuggler who is released from Alca- 
traz and allowed to use his unorthodox 
talents to get rubber out of Malaya. As 
Tracy's newspaper reporter partner, James 
Stewart is seen in a highly sympathetic, 
but comparatively secondary role as an 
idealist with a double purpose — to serve 
his country and simultaneously avenge his 
brother's death somewhere in the South 
Pacific. Strangely enough, it is Tracy who 
provides the romantic interest, shared by 
Valentina Cortesa, whose part as the sing- 
er in the Malayan saloon requires too little 
of her fine dramatic ability. Fat man 
Sydney Greenstreet operates the saloon 
and becomes involved in the intrigue in 
his usual fashion, while John Hodiak and 
Lionel Barrymore do their bit in surpris- 
ingly inconsequential roles. Produced by 
Edwin Knopf, the screen play by Frank 
Fenton was based on an original story by 
Manchester Boddy. 

• Poor 
• • Average 
• • • Good 

• • • • Excellent 

Please note that the 
rating often varies for 
different types of Theatres 

scious as Pearl Harbor plunges the U. S. 
into the conflict and one of its most popu- 
lar sons, Dan Dailey, becomes the first 
to enlist. Given a tremendous going- 
away party by the townspeople, Dailey 
is shipped out to basic training and turns 
into a remarkable sharpshooter, so good, 
in fact, that he is kept in the States as 
an instructor, and shipped back to Loring 
Field, just five miles from Punxsutawny. 
Despite repeated efforts to get into com- 
bat, Dailey is incarcerated at the training 
field for three years, facing the contempt 
of his neighbors, even his family. When 
a bomber bound for England makes an 
emergency landing at the field because 
of a gunner's appendicitis, Dailey gets 
the nod as the replacement, and is im- 
mediately shipped out. Over England, 
the plane cannot land and the crew bails 
out, but Dailey misses the order and ends 
up in France where a band of Maquis 
takes him in hand. They photograph the 
launching of the German's V-2 rocket and 
Dailey is given the films to deliver to the 
Allies. After a wild trip across the Chan- 
nel, through high brass grillings, a flight 
to the Pentagon and a final warning to 
keep mum about the whole thing, the ex- 
hausted "hero" is dumped back in Punx- 
sutawney, just four days after he left, to 
try to explain that he had been in com- 
bat overseas. Fortunately, the Army 
comes to his rescue to decorate him and 
redeem his heroism in the eyes of his girl, 
his family and the fickle town. BARN. 


Rates • • • — generally on star value 

STCRY: James Stewart, a globetrotting 
newspaper reporter, tells influential pub- 
lisher Lionel Barrymore that sorely-needed 
raw rubber can be smuggied out of Mala- 
ya, provided the U.S. supplies enough gold 
to flash in the right places. Barrymore in- 
forms John Hodiak, a government agent, 
who effects the release of Stewart's buddy, 
smuggler Spencer Tracy, from Alcatraz 
to help with the project. Landed in Ma- 
laya as Irish sailors, Tracy and Stewart 
head for a tropical saloon run by Tracy's 
old friend, Sydney Greenstreet, whose aid 
and influence they seek. Greenstreet clears 
them with Richard Loo, the Jap command- 
er, and they set out to buy up caches of 
rubber three plantation owners have been 
holding out on the Japanese. The first two 
loads are successfully delivered to a cam- 
ouflaged American freighter, but the third 
owner with whom they are dealing, Roland 
Winters, a German national, double-cross- 
es our heroes. In an ambush, Stewart dies 
and Loo traps Tracy, who had been 
warned by Greenstreet of Loo's plans. Loo 
forces Tracy to lead him to the hidden 
rubber ship, and is killed in the ensuing 
gun-fight in which Tracy is wounded. The 
Americans get the rubber, an enemy cruis- 
er is sunk by two PT boats, and we are 
told that Tracy lived to retire to an island 
with Valentina Cortesa, after refusing a 
medal from the U. S. Government. TAY- 



Rates • • • — in deluxers; less in action 


108 minutes 

Barbara Stanwyck, James Mason, Van 
Heflin, Ava Gardner, Cyd Charisse, Gale 
Sondergaard, William Frawley, Douglas 

Directed by Mervyn LeKoy. 

Based on the best-selling novel by 
Marcia Davenport, "East Side, West 
Side" should prove a solid attraction on 
the strength of the book and its four 
name stars. This glossy portrait of 
sophisticated society is definitely slanted 
to catch the feminine trade and that 
should spell good grosses in most big 
city theatres. It will not do so well in 
small towns or in the action houses. The 
glitter and glamour of New York high 
life, the amorous peccadillos of the up- 
per crust, are presented with finesse and 
flashy atmosphere. And the romantic 
story, concerning a woman blindly in 
love with her husband, a charming but 
worthless cad, is one that is sure to 

and rural spots 

strike a sympathetic note with every 
feminine patron. The men should find 
this session of hsart-throb just another 
picture to which to take the frau. Late 
in the proceedings, it unexpectedly turns 
into a mystery drama, with a murder, 
a chase and a capture — all neatly 
wrapped up in one episode and then 
back to heart-throb again. This adds a 
certain amount of action, but doesn't 
seem especially appropriate to the pre- 
vailing mood. 

Opportunities for Barbara Stanwyck's 
hi^h-powered emoting are somewhat 
limited in a part that calls for a re- 
served and repressed character. Playing 
in a subdued key, she does succeed in 
making it convincing. James Mason is 
very smooth as the philandering hus- 
band and Van Heflin scores as the 
doughty ex-cop. Cyd Charisse is lovely 
as the friendly model, but it is Ava 
Gardner who is the focus of attention. 
As a hard-boiled beauty, sheathed in 
tight - fitting gowns, she clearly demon- 

strates why husbands leave home. 

STORY: Genteel-born Barbara Stan- 
wyck fears that her husband, James 
Mason, will get involved again with his 
ex-flame, Ava Gardner. He does run 
into her in a night club and gets into a 
brawl with her latest patron, Douglas 
Kennedy. He is rescued by model Cyd 
Charisse, at whose apartment he spends 
the night. Her sweetheart is Van Hef- 
lin, a former policeman, now a foreign 
correspondent. He takes an interest in 
Barbara and lends a sympathetic ear to 
her problems. She is attracted to him, 
but decides to save her marriage and 
plans a vacation with Mason. Then Ava 
is found murdered and Mason is arrested 
for the crime. Heflin gets busy on the 
case, does some fancy sleuthing and 
soon brings in the blonde amazon who 
had done in her rival. So Mason is now 
cleared, but at this point Barbara washes 
him out of her hair forever. And it 
looks as though at some future time she 
and Heflin will get together. YORK. 


Rates • '• + as dualler in family houses 

Eagle Lion (George Pal) 
86 minutes 

Jimmy Durante, Terry Moore, Tom 
Drake, Frank Orth, Sara Haden, Queenie 
Smith, Chick Chandler, Jimmy Conlin, 
Hugh Sanders, Donald T. Beddoe, Candy 
Candido, Clancy Cooper, Harold Gooswin, 
Frank Cady. 

Directed by Irving Pichel. 

"Rupert," that impish squirrel who 
dances a jig and tosses money around 
recklessly, should make a hit with come- 
dy fans. Starred with this peanut 
scrounger is Jimmy Durante, whose bul- 
bous profile and raucous voice enhance 
the air of delightful absurdity which fills 
this dizzy little fable. This is the sort of 
picture that has no age limitations ■ — 
Junior and Grandpa will both be amused 
by its droll humor. The antics of "Ru- 
pert" will be an especial treat for the 
kids, who probably won't realize that the 
bright-eyed squirrel is just a stuffed 
creation of George Pal's famed Puppe- 
toon technique. This being Pal's first ef- 
fort at feature production, its success 

marks a bright new acquisition to Eagle 
Lion's roster of top-flight producers. The 
nutty yarn, scripted by Laslo Vadnay, 
has all the charm of a modern bed-time 
story and is rife with gags for the inimi- 
table Durante. The modest production 
is slightly uneven in quality and the 
laughs come in sporadic bunches, but its 
blend of gentle warmth and uproarious 
incident should prove irresistible to fami- 
ly audiences. It will be strongest in the 
rural areas. 

That explosive Durante personality is 
very much in evidence as he pounds the 
piano, sings with boisterous glee and 
snorts in frantic exasperation. His lines 
are not particularly funny, but the way 
he chortles at his own gags is very con- 
tagious. Terry Moore and Tom Drake 
pleasantly attend to the department of 
young romance and there are brightly 
comic inserts by Queenie Smith and 
Frank Orth. 

STORY: A down-and-out and homeless 
vaudeville act, consisting of Durante, his 
wife, Queenie Smith, and his daughter, 
Terry Moore, luckily find refuge in a 

dingy garage rented from Frank Orth. 
Unknown to them, there is another tenant 
living there rent-free — Rupert, the train- 
ed squirrel. And when Orth, who has a 
miserly distrust of banks, shoves $1500 
of stock dividends through a hole in 
the wall and into Rupert's hoard of nuts, 
the squirrel indignantly throws it right 
out again into the garage living-room. 
The money comes sailing down, just as 
Queenie Smith is praying for help. This 
procedure is repeated regularly every 
week when Orth cashes his dividend. 
Durante invests this money from heaven 
in local enterprises and prospers, while 
Orth keeps raising the rent and continues 
to shove money through the wall. Mean- 
while, there is a romance budding between 
Terry and the landlord's son, Tom Drake. 
The income tax officials (who don't seem 
to believe in money from heaven) get 
after Durante for his mysterious source 
of income. At this point the house catch- 
es fire and burns down. Orth thinks that 
his money has gone up in smoke and 
Durante magnanimously pays for the re- 
building. YORK. 


Rates • • ' as dualler where exploitation clicks 

88 minutes 

Shelley Winters, MacDonald Carey, Hele- 
na Carter, Luther Adler, Frank, 
Art Smith, John Kidgely, James Flavin, 
Molly Lamont, Silan Chen, Henry Kul- 
ky, Fred Nurney, Phil Nazir, Liberace. 
Directed by Bruce Humberstone. 

Despite Universal's efforts to make 
"South Sea Sinner" look like "hot stuff," 
it is really a very disappointing hodge- 
podge of cheesecake, music and drama, 
loosely intermingled with contrived sit- 
uations and peppered with labored ap- 
plication of double-meaning gags. The 
liberal exposure of bare legs and midriff 
belonging to Shelley Winters is the most 
savory feature. The story for this tropi- 
cal opus, concocted by Ladislas Fodor 
;ind Laslo Vadnay, takes liberal helpings 
of bad Joseph Conrad and worse Somer- 
set Maugham, and mixes in some sultry 

dance rhythms. Miss Winters postures 
violently as a composite of Sadie Thomp- 
son and Mae West, with a certain 
amount of Campfire Girl thrown in. As 
the femme fatale of the islands, Shelley 
comports herself with epic abandon, but 
never seems to be taking the proceed- 
ings seriously. A snappy ad campaign, 
featuring illustrations of the Winters 
anatomy, should provide a solid boxoffice 
boost for the ballyhoo houses, but just 
how the family trade, as well as the dis- 
criminating moviegoers, will take to un- 
draped, suggestive mediocrity is some- 
thing else again. 

In the course of her "torrid" adven- 
tures, Shelley gets off several songs: 
"Blue Lagoon," "I'm the Lonesomest Gal 
in Town," "One-Man Woman" and finally 
"It Had to Be You." MacDonald Carey 
and Luther Adler contribute performr 
ances much superior to the film's qual- 
ity. One of the better sequences has 
Liberace, a flashy pianist, in a brief ses- 

(More Reviews on Page 18) 

sion with Liszt's A Major Concerto. 

STORY: As a waterfront cafe singer, 
Shelley encounters MacDonald Carey, a 
scuttled seaman. Luther Adler, who 
owns the joint where she works, imme- 
diately recognizes Carey as having been 
involved in a rubber deal with the Japa- 
nese during the war. He plots to secure 
information that he can sell to the au- 
thorities and dangles Shelley as a lure. 
Carey falls for the bait and romance is 
proceeding nicely until Carey's fiancee, 
Helena Carter, visits the island and com- 
plicates matters. Further complications 
ensue when Adler kills Art Smith and 
Shelley finds him holding the lethal 
weapon. She persuades him to lay off 
Carey and, in return, promises to be his 
mistress. Finally she becomes aware of 
the clean, antiseptic quality of Helena's 
love for Carey and fades out over the 
bounding main with another man. Carey 
is left with Helena and Adler gets his 
just desserts. YORK. 


Short Subjects 


'"TUESDAY, JANUARY 10, was an his- 
toric day for the sovereign state of 
Montana. For the first time in its exist- 
ence, it was accorded the privilege of 
holding a world premiere of a movie. 
The name of the film, of all things, was 
"Montana." Warners' Technicolor west- 
ern starring Errol Flynn and Alexis 
Smith. In cooperation with the WB ad- 
publicity department under Mort Blu- 
menstock, Fox-Intermountain representa- 
tives and leading state officials, the 
event, titled "The Montana Bonanza 
World Premiere," made one of the big- 
gest splashes in the State's history. 
Heralded for weeks in a state-wide series 
of special events, the film opened in the 
state capitol, Helena, with some eight 
Hollywood stars traipsing to the festivi- 
ties to be greeted by Governor Bonner 
and lesser dignitaries. Helena was just 
loaded with glampur as such stellar lites 
as Miss Smith, David Brian, Ruth Rom- 
an, Alan Hale, Adrienne Booth, James 
Brown. Craig Stevens and Ian MacDon- 
ald paraded up the main avenue to the 
Marlow Theatre and Gov. Bonner for- 
mally appointed Jack L. Warner as an 
honorary Montana citizen. Errol Flynn 
couldn't make it because of commitments 
— abroad. 

/^ROSSES BEING racked up by "The 
^ Outlaw" in each of the 21 key city 
engagements are nothing short of pheno- 
menal, according to advices received 
from RKO. Held over in every situation, 
the first week's gross amassed from the 
21 houses topped the $450,000 mark. And 
this in the face of a repeat appearance 
in the majority of the situations. In 
New Orleans, despite competition from, 
the annual Sugar Bowl Game, and a five- 
week run there in its initial appearance, 
"The Outlaw" grossed $4100 more in its 
first week than any other RKO film to 
play the house in three years. In Bos- 
ton, where a 25-year record was shatter- 
ed, vendors were hawking coffee and hot 
dogs to the waiting lines; in Kansas 
City, the line was so long that some en- 
terprising youngsters were renting camp 
line-up. But the pay-off was in New Or- 
leans; an enterprising manager of a rival 
theatre quickly had handbills printed ad- 
vising: "You may have a 2-hour wait to 
see 'The Outlaw.' Meanwhile, see our 
attraction. Running time, 1 hour and 20 

A FTER a 63- weeks run of "The Red 
Shoes," Robert W. Dowling and Mau- 
rice A. Maurer, managing director of 
the Bijou, thought enough of the film's 
ability to continue to pack his house 
that Dowling put $100,000 on the line for 
the right to continue to play the J. Ar- 
thur Rank-Eagle Lion release as long as 
he wishes. One of the most unique deals 
in exhibition history, the cash was paid 
after the picture had run for over four- 
teen months on a reserved seat, two-a- 
day basis and had been seen by over 
600,000 Bijou patrons. It represented 
more money than anv theatre has ever 
paid for a film which has already run 
for a year and eleven weeks. The deal 
was consummated by Dowling, Maurer, 
and William J. Heineman, distribution 
vice president of Eagle Lion. This 
wasn't the first time an offer had been 
made for balance-of-run. At the begin- 
ning of the eighteenth week, Dowling 
and Maurer offered a flat $150,000 for 
the remainder of the run, but the canny 
Heineman rejected it. 


The Dean Is 77 

TURE INDUSTRY celebrated his 
77rh birthday on January 7th. Adolph 
Zukor arrived in this country in 1839 to 
start his career in the New World with 
a job in a New York fur store at $2 per 
week. Four years later, he owned his 
own fur business in Chicago and since 
that time was never headed in his climb 
to success. Returning to New York in 
the early 1900's, he invested in Penny 
Arcades, then Nickelodeons, switched 
over to become a producer and distribu- 
tor of motion pictures and formed asso- 
ciations which led to the birth of Para- 
mount Pictures, Inc., including the huge 
theatre empire which was just lopped 
off by the reorganization plan dividing 
Paramount's production-distribution and 
exhibition branches. To the chairman of 
the board of the newly formed Para- 
mount Pictures Corp. and to one of the 
founding fathers of the American film 
industry, our congratulations. 

well in hand as Republic's biggest 
picture, "Sands of Iwo Jima," gave 
Broadway another lavish premiere. The 
host of top brass dignitaries attending 
the debut were h aded by U. S Fleet 
Admiral Chester W. Nimitz, the Marine 
Band of the 1st Infantry Reserve Bat- 
talion oompahed outside the theatre, at- 
tended by a Marine Color Guard and 
Honor Guard. An elaborate display of 
Marine fighting equipment in the lobby 
had the first nighters gaping. The pro- 
ceedings were broadcast by Martin Starr 
over WINS from the lobby. The advance 
exploitation featured a letter campaign 
directed at 5000 ex-Marines in the metro- 
politan New York area, telling them of 
the Mayfair engagement. It reminded 
therm that the film "is going to bring 
hack a lot of memories to you, of good 
times and bad times. I'd suegest you 
take your family with you. They'll see 
why a Marine has always considered 
himself something special where fight- 
ing men are concerned." That the 
femmes cherchezed their males was in- 

dicated by the smash grosses being rolled 
up at the Mayfair for the current en- 
gagement of "Sands of Iwo Jima." The 
campaign was supervised by Harry Gold- 
stein, ad-publicity director for Brandt 
Theatres, in cooperation with Republic 
ad-pub chief Steve Edwards and Bea 
Ross, exploitation manager. 

TJ'NDER Andy Smith's leadership, the 
distributors have organized a tightly- 
knit organization to aid in COMPO's 
battle to knock out the federal amuse- 
ment tax. Working at grass roots level, 
Smith named 32 exchange area distribu- 
tion chairman to harness local elements 
to assist in the campaign. They are: 
Albany — John Bullwinkel, Columbia; At- 
lanta — Clyde Goodson, Paramount; Bos- 
ton — Jim Connolly, Fox; Buffalo — Dave 
Miller, U; Charlotte — Al Duren, Para; 
Chicago — Tom Gilliam, Fox; Cincinnati — 
J. S. Abros3, WB; Cleveland — Oscar 
Ruby, Col; Dallas — Phil Longdon, Fox; 
Denver — R. C. Hill, Col; Des Moines — 
Jim Ve!des, EL; Detroit— W. D. Woods, 
WB; Indianapolis — G. R. Frank, Para; 
Kansas City — James W. Lewis, RKO; 
Los Angeles — Jack O'Laughlin, UA; 
Memphis — Ed Williamson, WB; Milwau- 
kee — John G. Kemptgen, MGM; Minnea- 
polis — William H. Workman, MGM; New 
Haven — Arthur Greenfield, U; New Or- 
leans — C. James Bryant, MGM; New 
York — Sam Diamond, Fox; Okla. City — 
Ralph B. Williams. RKO; Omaha— Har- 
old Johnson, U; Philadelphia — William 
Mansell, WB: Pittsburgh— Saul Gottlieb, 
MGM; Portland — Ralph Amaeher, EL; 
St. Louis — Ned Steinberg, Rep; Salt Lake 
City— Gilford Davison, RKO; San Fran- 
cisco — Neal East. Para; Seattle — A. J. 
Sullivan, UA; Tampa — Harold Laird, 
Rep.; Washington — Joseph Brecheen, 

QF MEN AND THINGS: Louis Talcott 
Stone, New York attorney and for- 
mer counsel for ASCAP, has been named 
executive assistant to David O. Selznick. 
Another addition to the Selznick organi- 
zation is Les Kaufman as studio publi- 
city director for Vanguard Films. Former 
flack executive for U-I and Republic 
studios, Kaufman leaves Kaiser-Frazer, 
where he was exploitation and promo- 
tion direclor, to take the Selznick post 
. . . The SMPE is now officially the 
SMPTE. Effective Jan. 1, the engineers 
will be known as the Society of Motion 
Picture and Television Engineers . . . 
Paramount division managers and home 
office executives met over the past week- 
end (13th and 14th) in the first produc- 
tion distribution confab of the new Para- 
mount Film Distributing Corp. . . . Joe 
Gins. U-I branch manager in Buffalo, 
moves over to head the Cincinnati 
branch, succeeding Irvin Sochin, now 
sa'o^; rep for U-I's Prestige Pictures . 
Arthur Sachson, general sales manager 
of Samuel Goldwyn Productions, has re- 
signed the post after four years of super- 
vising sales of Goldwyn product through 

JANUARY 16, 1950 





Disciplinarian Gregory Peck finally breaks under the strain of sending the 

in the Battle of Britain. 

'expendables" out 

ON NEW YEAR'S EVE, at exactly 11:59, millions of Americans waiting to 
ring in the second half of the century, received the first full blast of 20th 
Century-Fox's huge campaign to publicize their critically-acclaimed drama of 
air-war, "Twelve O'Clock High". For a full minute, right up to the stroke of 
midnight which climaxed the announcement with "It's Twelve O'Clock High! 
Happy New Year!", the title and the star, Gregory Peck, were drummed into 
their receptive consciousneis, over mare than a thousand radio stations cover- 
ing every part of the country. On the heels of this ballypalooza. Fox ad-publicity 
chief Charles Einfeld and his staff have lined up the whole-hearted support of 
the Army Air Force, nationally and locally, to give alert showmen additional 
opportunities to cash in on this important angle for exploiting "Twelve O'Clock 

Item No. 2 is Gregory Peck, whose performance in this film has been 
heralded as his finest, and a definite candidate for the Academy Award. The 
Peck name, a magnet for the mesdames, should get plenty of play to offset 
any handicap attached to a "war" picture and to draw the ladies. The drama, 
also, should be stressed, rather than the air-war theme, and, as the company 
is doing in the institutional ads, the film should be ranked with previous Fox 
film successes. 


The Army Air force has put it- stamp of 
approval on ' Twelve O'Clock High" and are 
making Air Force personnel and equipment 
available for use by exhibitors in conn ction 
with the film. 

For a lobby exhibit, get cut-aways of jet en- 
gines and other airplane parts through Air Force 
personnel in your community. Th re is also 
available from National Screen a selected group 
of combat and airphoto stills from Air Force 
files. To enhance this display, each of the shots 
could b mounted on a huge clock face in place 
of the numbers. A variation of this would be 
to use stills from the picture in place of these 
photos or heads of the twelve men f atured in 
the film with a comment on each. 

Another good method of utilizing Air Force 
co-op would be to enlist raerabf rs of the Air 
Force Association in your town to lend a hand 
in organizing a Special U. S. Air Force day with 
a parade) utilizing members of the USAAF. 
American Legion. Nat'l Guard and Boy Scouts. 
The parad could lead right to the theatre for 
the opening. If possible. ha\e the Mayor issue 
a proclamation declaring Air Force day in your 
town. In areas where Air Force planes are 
available, contact commanding officer for planes 
to fly over the city during the celebration, 
pref- rably at noon. 

You might also arrange a preview of the pic- 
ture for top Air Force brass, prominent civic 
officials, officers of the American Legion and 
any Air Force hero 's in your community. 


Set up a miniature model plane contest with 
the manual training teachers in your local pub- 
lic schools and offer prizes for the best models, 
a $25 Savings Bond to the winner and free tick- 
ets for the runners up. A special B-17 bomber 
model contest would be particularly appropriate. 

For flying models, a demonstration can be 
arranged in one of the city's parks or on a 
school athl tic field. The winning models in all 
categories should be given prominent display in 
vour lobby. 



a samplel of the institutional type of 
newspaper ad. Used in the pre-r lease West 
Coast opening. linking the film with other 20th- 
Fox boxoffice hits. At loft, some of the various 
sizes and >tvle-, of i< gulat'on ads. 


0 ELOCfi 

"Battleground" gave a worm's 
eye view of the war, concen- 
trating on the slog-foot who 
took it on the chin on or un- 
der the ground "Twelve 
O'Clock High" gives us a bird's- 
eye view, not only because it 
tells in dramatic and personal 
terms of the airmen who paid 
the supreme penalty in the de- 
velopment of daylight bomb- 
ing, but because it is focused 
on the high brass whose re- 
sponsibility it was to send 
brave young men out to almost 
certain death so that others 
might live. 

Central character in the film 
is General Frank Savage, por- 
trayed by Gregory Peck, a 
sharp-tongued, flint - hearted 
disciplinarian, who transforms 
a demoralized, straggling Air 
Force unit, depleted by heavy 
losses, into an efficient fighting 
machine. Taking over from 
his well-liked predecessor, the 
martinet drives his men into 
accomplishments they never 
felt was possible and turns 
their hate into admiration. 
But just as the other c .o. crack- 
! ed up under too little disci- 
pline, Gen. Savage breaks be- 
cause he is too brittle, finally 
realizing that giving or taking, 
there is a limit to rigidity. 

At left, Gregory Peck cracks 
under the strain of seeing his 
men e/i>? in the huge day- 
light bombing losses. Below, 
the iron fisted general tells 
h's creiv to stop feeling sorry 
for themselves, that it will 
be easier if "you consider 
yoursalvets dead!" 


of the issue 


inioni (buffed j^rom Organization J3utletins 


Associated Theatre Owners of Ind. 
Excerpts from A. F. Myers' answer to 
an inquiry from a faculty member of a 
large Eastern university concerning the 
effects of theatre divorcement on exhibi- 

"A few weeks ago I saw a headline in 
one of the trade papers to the effect that 
divorcement would probably result in a 
reduction in the number of pictures to be 
released. This view was attributed to an 
unnamed industry spokesman and un- 
doubtedly was the expiring gasp of one of 
the old guard. It seems fairly obvious 
that, barring national economic collapse, 
the effect should be just the reverse of 
this. There is already a starved film mar- 
ket. That was inevitable under the old 

"The producers fed their pictures to the 
affiliated prior-run theatres where by ex- 
tended runs, whenever possible, they were 
bled white before being made available 
to the independent exhibitors. Those the- 
atres had very few playdates that were 
open to the small, independent producer- 
distributors such as Republic, Monogram, 
etc. Also, the distributor defendants, 
whether they had theatres or not, gave 
preference to the pictures made on their 
own lots over those produced independent- 
ly and which they handled as distributors 
on a contract basis. The great reduction 
in the annual releases of feature pictures 
during the past 25 years has been due 
mainly to the monopoly condition in the 

"Under divorcement the screens of all 
theatres will be open to any distributor 
who can offer a meritorious picture, re- 
gardless of the lot on which it was made. 
This should stimulate an increase in the 
number and quality of independent pro- 
ductions. Moreover, the old-line com- 
panies are not going to stand idle and let 
these playdates be taken away without a 
fight. If the length of the first-runs is 
reduced, and more playdates result, they 
are either going to have enough pictures 
to absorb those playdates, or else be lost 
in the shuffle. There are those who say 
this imposes too great a financial burden 
to be borne by the producers; that with 
aggregate revenues fixed by the theatre- 
going habits of the public, the producers 
cannot afford to increase their output. 
This argument overlooks (1) that a small 
return on a lot of pictures may exceed a 
larger rate of return on a few pictures; 
(2) the advantages of a faster liquidation 
of the pictures resulting from the elimina- 
tion and reduction of clearances, thus en- 
abling a much greater number of theatres 
to play the pictures while they are fresh; 
and (3) it takes no account for further 
economies which are possible in the pro- 
duction of pictures. 

"Except where there is a failure of raw 
materials or a prolonged strike, demand 
never lacks supply in a competitive mar- 
ket. When the supply falls below the de- 
mand, it is a sure sign of a controlled mar- 
ket. That is what we have had in the 
motion picture business for a good many 
years. It would be astonishing if anyone, 
except the monopolist whose club has 
been taken away from him, should pre- 
dict disaster resulting from the removal 
of these artificial restraints or wish to 
continue them for fear that the inconven- 
iences of the transition might outweigh 
the advantages resulting from the re- 

"Of course, the transition from a con- 

trolled market to a free market involves 
some inconvenience and opens the way for 
the old guard die-hards to take retaliatory 
action against those whom they feel were 
responsible for egging on the Government 
- that is, the independent exhibitors. Thus 
the District Court in its first decree pro- 
vided competitive bidding as a panacea 
(I use the word advisedly) for the ills of 
exhibition. By that decree the distributors 
were bound to offer their pictures for bid- 
ding in all competitive situations. The 
objections to this plan are well summar- 
ized in Justice Douglas' opinion. Even 
though discredited and kicked out of the 
decree by the Supreme Court, the distribu- 
tors have seized upon competitive bidding 
as a happy method of extracting higher 
film rentals and are requiring exhibitors 
to bid in situations where, for many years, 
they got along very well with divisions of 
product which were legal, just and equi- 

"Let me cite a recent example. In a 
good-sized town were two exhibitors, one 
with one theatre, the other with two. Each 
had been doing business with certain dis- 
tributors for many years and there was a 
fair division of product. Recently the 
man with two theatres decided he wanted 
a line of pictures which theretofore had 
been played by his competitor. Had he 
succeeded the balance would have been 
destroyed and the value of his competi- 
tor's theatre greatly injured. The distri- 
butor notified the man with one theatre 
that, thereafter, he would have to bid 
against his competitor for its pictures. 
The explanation offered was that this was 
necessary in order to protect the distribu- 
tor against a law suit. 

"Cases of this sort have caused some 
anxiety and irritation among independent 
exhibitors and trust representatives have 
tried to convince them that this all grows 
out of the Government's suit; that as in- 
stigators, the blood is on their brows. Of 
course, that is the worst kind of misrepre- 
sentation and should be branded as such. 
The evil at which the prosecution was 
aimed was the monopolization of the pre- 
ferred runs by the big affiliated circuits. 
Fair competitive bidding is a proper 
method to enable an independent with a 
proper theatre to contend with such a cir- 
cuit for pictures on a preferred run. In 
many cases, it has been successful and 
as a result independents are now enjoying 
runs from which they were unlawfully 
excluded. But that is a very different 
thing from saying to two independent ex- 
hibitors who have been operating success- 
fully on the same run but with different 
products that they must now bid against 
each other for every picture on that run. 

"If your article is occasioned in any de- 
gree by the published complaints against 
competitive bidding, I think you will see 
at once that that practice is not made 
mandatory by the Court; on the contrary, 
that the practice was pretty thoroughly 
discredited by the Supreme Court's opin- 
ion. To the extent that abuses have aris- 
en with respect to competitive bidding it 
is the direct result of the greedy policies 
of the defendant distributors, aided by an 
understandable if not altogether admir- 
able desire to discredit the Government's 
suit by attributing the need for those 
abuses to the decree. Aside from this I 
know of no dissatisfaction in exhibitor 
ranks with the decisions, the decrees or 
any incidence thereof." 


ITO o Ohio 

opened on Broadway and received an ex- 
cellent reception and is generally accept- 
ed as a good commercial picture that 
should do business. 

DeMille reverts to the old DeMille with 
lavish sets and all the trimmings. Hedy 
Lamarr photographs beautifully in tech- 
nicolor and Victor Mature is very capable 
for a change. 

We hope Paramount gets no illusions 
of grandeur and gives the exhibitor an 
opportunity to make some money if the 
picture does well. 

Most exhibitors are willing to pay a. 
fair rental but will strongly reject any 
deals that leave them with little profit 
in spite of a good gross. As Mr. DeMille 
said, this picture cost much less than 
UNCONQUERED and he wants as many 
people in this country to see it as is pos- 
sible. Paramount can help this come 
true by selling the picture at terms that 
an exhibitor will be able to play it on his 
screen so that his community may see a 
worth-while picture. 

* * * 


Allied of New Jersey 
Many companies look upon short sub- 
jects as unwanted children but fail to 
realize that many exhibitors, especially 
those with single feature policies, look 
to short subjects to make a good program 
just as a double feature man looks to a 
second feature to prop up his show. 

The art of making good two reelers has 
been lost. Comedies, as they are called 
by the producers, fail, in most instances, 
to get a ripple from the audience. There 
are a few good single reels being made 
but the majority seem to be dull, unima- 
ginative and, in general, do not help the 

* * * I 


ATO of Indiana 

We hope no ATOI member is passing 
up an opportunity to build respect and 
prestige for his theatre and the motion 
icture industry by booking all the one 
reel shorts in "The Movies And You" 
series produced and distributed by the 
different film companies. 

Sam Switow, ATOI Director and mend 
ber of the Industry Film Project Commit- 
tee, said: "I can honestly say to all my 
brother exhibitors, THIS IS WHAT WE 
HAVE LONG WAITED. Here are the 
subjects . . . that will sell to the patron 
the facts that all connected with the in« 
dustry are hard working industrious busi- 
ness people, the same as other merchants; 
that the movie theatre is a necessary busi- 
ness to every community and provides 
livelihood for thousands of people . . . " 

ATOI President Rembusch stated that 
"the reels are tops in public relations. 
Exhibitors have needed this type of sub- 
ject on their screens for a long time . . . 
I am looking forward to dating every 
one of these reels in my theatres." 

The ltaest subject in the series is THE! 
SOUND MAN, produced and booked by 
Columbia. Whether or not you are a 
regular Columbia customer, send them a 
date for this reel now. 




Behind the Scenes of Film Production 



^OLUMBIA, which had more than its 
share of ups and downs during 1949, 
faces 1950 with a better than average 
^backlog of product, at least a half dozen 
good story properties in the preparation 
mill, and two good money-makers going 
into general release. On the other side 
• ; of the ledger, the company is still faced 
with a shortage of good contract talent 
and continued internal strife within the 
organization. However, if the last two 
obstacles can be overcome, there is rea- 
, ,;on to believe that the new year should 
J pe a profitable one for this company. 
. Both "All the King's Men" and "Jolson 
Sings Again" should roll up profits, es- 
J pecially if the former drags down some 
1 pf the Academy Awards, as now seems 
ikely. Furthermore, the backlog of pic- 
ures stacks up as potentially a profitable 
Ipne. Included in the stock are such star- 
I studded productions as: "The Good Hu- 
mor Man" (Jack Carson); "The Petty 
| jirl" (Robert Cummings-Joan Caulfield), 
Ijn Technicolor; "A Woman of Distinc- 
I don" (Rosalind Russell-Ray Milland-Ed- 
nund Gwenn); "Father is a Bachelor" 
I ;■ William Holden-Coleen Gray); "The 
1 .Mevadan" (Randolph Scott) in Cinecolor, 
I ind Walter Wanger's production, "Reck- 
ess Moment" (Joan Bennett- James Ma- 
hon), which will have to rely on its stars 

0 make up for its story weaknesses. 

,3ogart's Editing 

|( In addition, there is a sextet of poten- 
tially fine features currently in the edit- 
ing stages. In this group are: "In A 
I l^onely Place," the Santana production 
starring Humphrey Bogart; "No Sad 
5ongs For Me," a Robert Rossen produc- 
tion starring Margaret Sullavan, Wendell 
"orey and Viveca Lindford; "The Killer 
jThat Stalked New York" (Evelyn Keyes- 
j'ohn Irelando; "Fortune Of Captain 
JJlood" (Louis Hay ward-Patricia Medina); 

1 Rogues of Sherwood Forrest" (John 
perek-Diana Lynn), in Technicolor, and 
(Kill the Umpire" (William Bendix). 

I Heading the list of properties now in 
preparation for filming are the long-de- 
layed "Born Yesterday," and two Robert 
(lossen productions, "The Brave Bulls" 
! .nd "The Outer Edges." 

Negotiations have also been instituted 
n recent weeks, for Phil and Jules Ep- 
tein to head up their own production 
nit on the lot. The writing team is cur- 
ently completing an assignment at 20th 
.entury-Fox, and it is expected that they 
viU sign the production contract with 
larry Conn as soon as they are free. 

Thus, it would appear that the over-all 
>icture is comparatively bright for the 
ompany. However, it is the opinion of 
his department and many other sideline 
bservers in Hollywood, that Columbia is 
iot, and can never become a really for- 
lidable leader in motion picture making, 
intil the internal strife is wiped out. 
-et's hope Harry Cohn, the stockholders 
- or both — will make that their busi- 
less in 1950. 


Tinkering Stars 

ALTHOUGH 1950 is only a few 
A weeks old, no less than a half- 
dozen suspensions have already 
been meted out to obstreperous 
stars by their studio bosses. And, 
since their salaries are up in the 
highly taxable stratosphere, they 
don't seem to mind the lay-offs one 
bit. Only the studios and the exhi- 
bitors, who have heavy investments 
in the exploitation of their names, 
stand to lose by their idleness. This 
is one of the evils of the star sys- 

A bystander, watching not only 
top-flight stars, but even second and 
third-raters violate their contracts, 
would certainly be excused for 
paraphrasing Shakespeare and won- 
dering what meat these actors eat 
that they have grown so great. 
More and more, actors have been 
arrogating to themselves the right 
to arbitrarily decide what they will 
and what they won't do in the line 
of studio assignments. 

The fact is that almost every 
producer in the business has resign- 
ed his overlordship of production 
matters to his stars. The players 
literally run the industry. They 
decide on stories. They demand the 
directors of their choice. They 
make or break cameramen. They 
dictate their own publicity cam- 
paigns. They say when they will 
or won't work. And the net result 
is poorer product than we could ex- 
pect if the executives who are bet- 
ter qualified to pass judgment, had 
retained their authority. Unfortu- 
nately, there are few actors who, 
either by temperament or experi- 
ence, are qualified to do anything 
but act. 

How many really fine pictures 
have barely missed their mark be- 
cause the ideal stars for the pictures 
have decided the roles weren't 
"right" for them. And how rnany 
more have wasted their talents and 
the studio's money by demanding 
roles that were completely "wrong" 
for them. 

When studio heads resume their 
rightful places as administrators 
who give, instead of take, the orders, 
the motion picture product is going 
to show a marked improvement. 
That might not be such a bad New 
Year's resolution — even at this 
late date. JAY ALLEN. 



HTO SAY THAT Eagle-Lion faces 1950 
with assurance would be an over- 
statement, but, neverthless, the future of 
the company can safely be said to be on 

a much firmer footing than it was only 
a few months ago. It is the general con- 
census of those in the know in Hollywood 
that the next few months will tell the 

It is encouraging to note that "The 
Jackie Robinson Story," which the com- 
pany will make under its own auspices, 
is about ready to roll after the long pro- 
duction hiatus. And there's good news 
in the announcement that Jack Schwarz 
has mapped out a slate of 32 features and 
westerns for E-L release during 1950. 
But it takes more quality product than 
is already lined up to insure the future 
of any organization in these trying times. 
Big Campaign 

It is all in the company's favor, how- 
ever, that there is no stinting on exploi- 
tation of its product. Early this month, 
the company launched a strong publicity 
and exploitation campaign on the Jack 
Wrather-Robert Golden production of 
"Guilty of Treason." As everyone knows, 
this is the picture based on the much- 
headlined trial of Cardinal Mindszenty, 
last year. The very nature of the story 
lends itself to exploitation, and if proper- 
ly executed, the feature may well move 
into the big money-making class. 



WARIETY is the key- 
note of the MGM 
product to be released 
in 1950. 

Dore Schary, in 
commenting on the re- 
leases set for the next 
twelve months, des- 
cribed them as the 
most varied in the 
studio's twenty - five 
year history. Come- 
dies, musicals, myster- 
ies and dramas, all play a heavy part in 
the forthcoming product. 

Schary frankly admits that he is proud 
of the pictures that have been made un- 
der his regime at the studio. "In the past 
year," he says, "many economies have 
been accomplished by more careful selec- 
tion of story material, through prepara- 
tion of scripts and close cooperation be- 
tween the creative people and the crafts- 
men responsible for the making of pic- 
tures. It has been evident for some time 
that the solution to Hollywood's basic 
problem is better pictures made at sane 
costs. I think we have accomplished it." 

Both Schary and Louis B. Mayer face 
the new year with faith in the future, 
as evidenced by the fact that they will 
launch a new four-per-month production 
policy, beginning in February. Further 
evidence that they are looking far into 
the future can be found in the number 
of new players, directors and producers 
which are being placed under contract. 
No less than 20 new names will be in- 
troduced in MGM films to be released 
this year, marking a new high for the 
company. In addition, five directors have 


fANUARY 16, 1950 



been set to make their debuts at the stu- 
dio during the new year. Teeing off the 
program was Richard Brooks, who start- 
ed megging his own screenplay, "Crisis" 
on January 5. A few days later, Joseph 
H. Lewis started his first assignment on 
"Visa," and within the next month to 
six weeks, Gerald Mayer, and Robert 
Pirosch will make their initial bows be- 
hind the megaphone. 



CTEVE BROIDY, Monogram prexy, is 
currently boasting that his company 
and its subsidiary, Allied Artists, will fol- 
low the most ambitious production sche- 
dule in their history during 1950. In re- 
viewing the year's plans, Broidy says: 

"Every producer on our roster either 
has a film before the cameras at the pre- 
sent time or is at work preparing a story 
for production. Not only will our produc- 
tion call for the full utilization of our 
own studios' stage capacity, but for stage 
space which we, of necessity, will have 
to rent." 

Included on the Allied Artists schedule 
are: "The Police Story," to be produced 
by Paul Short with Audie Murphy in the 
starring role; "The Longhorn," a Scott 
Dunlap production, starring Rod Came- 
ron, and "Maid For A Man," to star Flor- 
ence Marley, the new French actress. 
Two From Kings 

In addition, there will be two King 
Brothers productions: "Heaven's Where 
You Find It" and "The Giant Killer," the 
latter based on the career of the New 
York police officer who smashed the Ma- 
fia Society in that city. 

Further Monogram, entries include 14 
sagebrushers, equally divided between 
Johnny Mack Brown and Whip Wilson. 

The company is also planning to release 
26 two-reel and 13 one-reel re-issues of 
kid comedies, which were originally made 
by Hal Roach and released by MGM. 
The films will feature such juvenile stars 
as Farina, Dickie Moore, Jackie Cooper, 
Mary Kornman, Joe Cobb, Jack Condon 
and Mickey Daniels. In short, it sounds 
like the "Our Gang Comedies" are back 
with a new title. 



r\ I V O R C E - 

MENT came to 
Paramount this 
month. But instead 
of meeting this dras- 
tic change with fear 
and indecision, the 
company's executives 
and personnel met it 
as a challenge, and 
face the future witli 

It was quite a reve- 
lation for this reporter to stand among 


several hundred workmen on sound stage 
five, the other day, and watch their faces 
as they listened to the voices of Adolph 
Zukor, Barney Balaban, Al Schwalberg 
and Henry Ginsberg addressing them over 
loud-speakers on the occasion of the 
separation of the two companies. To the 
last man, they seemed agreed that this 
was a move to the good, instead of one 
to be feared. Talking with several of them 
afterward, it was evident th^.t they were 
agreed on one thing: the company would 
expand its output of top quality pictures 
to meet divorcement, wh'ch would not 
only secure their lobs, but strengthen 
the future of the production company. 
Heavy Schedule 

A look at the schedule seems to bear 
out their reasoning. Three top-budget 
pictures are going into production almost 
immediately, with nine others set to fol- 
low during the first five months of the 
new year. Furthermore, Ginsberg has 
?^"red his employees that the activity 
will be continued throughout the remain- 
ing months of 1950. He points out that 
his company will not restrict production 
to a fixed schedule. Instead, it will keep 
its schedule flexible in order to make as 
many pictures as the number of good 
stories warrants. 

"This production program will result 
in one of the busiest periods which any 
studio has experienced in recent years," 
Ginsburg declared. 
Three In January 

The three pictures set to roll this 
month are: "Carrie Ames," William Wy- 
ler's production of Theodore Dreiser's 
novel, "Sister Carrie": "Montana Rides," 
an outdoor epic starring Alan Ladd, and 
Hal Wallis' production, "My Friend Irma 
Goes West." with the same cast that 
scored in the original "Irma" comedy. 

Other pictures scheduled to enter pro- 
duction during February, March, April 
and May are: "Dear Mom," a sequel to 
"Dear Ruth" and "Dear Wife"; "It Can't 
Last Long," a Charles Brackett produc- 
tion starring John Lund; "Jack of Dia- 
monds," starring Lund and directed by 
Richard Haydn; Bob Hope in "Big Guy"; 
Betty Hutton in "The Mabel Normand 
Story"; "Born in a Trunk," Leo McCarey's 
first Paramount picture since the studio 
acquired Rainbow Productions," and "Mr. 
and Mrs. Anonymous," to be produced 
and directed by George Stevens. 



1-JERE's a predic- 
tion: 1950 will see 
Republic move into 
the forward ranks of 
major Hollywood pro- 
duction companies. 

For several months, 
this department has 
been saying that Re- 
public was the studio 
to watch. Certainly 
the developments of 
the past few weeks 
bear out all that has been said. Herbert 
Yates has come up with one of the big 
boxoffice attractious of the year in "Sands 
of Iwo Jima" — a picture that will out- 
gross anything before in the company's 
history. Furthermore, Yates has wisely 
decreed to immediately re-invest that 
money in securing top name stars for 


"Faces in the Sun," which will be the 
company's next big venture. 

Next came the announcement that 
Argosy Films Corp., headed by John Ford 
and Merion C. Cooper was moving to Re- 
nublie, lock, stock and barrel, for pro- 
duction and release of all their future 
nvoduct. As any exhibitor knows, a John 
Ford movie is bona fide boxoffice, some 
of his past productions ranking among 
the all-time money-makers in Hollywood. 
And there can be no doubt that any major 
in town would have gone to almost any 
lengths to corral Argosy into their fold. 
In announcing the Ford deal, Yates de- 
clared that it had been pending for some 
time, and emphasized that the new deve- 
lopment gave him, unbounded confidence 
in the future of his company. 
Production Chief? 

Although he would not confirm it as of 
this writing, this department hears from 
an authoritative source that Ford is sche- 
duled to become production head of Re- 
public within a few weeks. 

Ford and Cooper will stay on at RKO 
until their latest picture, "Wagon Mas- 
ter" is completed. The negative on the 
film is expected to be ready to turn over 
to the Howard Hughes plant around the 
first of March, so it seems likely that the 
move-over will be effected around that 

In summing up his company's outlook 
for the new year, Yates said: "Our con- 
cern will be to deliver to American exhi- 
bitors and the theater-going public the 
highest entertainment possible." 



TTHE NEW YEAR got off to an auspi- 
cious start here with five top-bracket- 
ed films before the cameras in the early 
days of January. This marks the heavi- 
est production activity to start any new 
year in the company's history. 

Sid Rogell, the company's executive 
producer, tells FILM BULLETIN that 
still further films will be put into work 
before the end of the month, and that 
production will be maintained at a steady 
level throughout the coming year. 

The most recent starters are: "A White 
Rose for Julie" and "Code 3," both of 
which went before the cameras on Jan- 
uary 5. Other features before the cam- 
eras at that time were: "Jet Pilot" (John 
Wayne-Janet Leigh), which is being meg- 
ged by Joseph von Sternberg ; Harriet 
Parsons' "Come Share My Love" (Irene 
Dunne-Fred MacMurray), and "Sons of: 
the Muskateers" ( Cornel Wilde-Maureen 
O'Hara), which Lewis Allen is directing j 
for producer Jerrold T. Brandt. 
Goldwyn Shut-Down? 

There is some indication that Samuel 
Goldwyn, who has just completed the 
busiest twelve months in his long experi- 
ence as a motion picture producer, may 
take a breather in the months ahead. 
This department hears that he plans to 
shutter his studio for a total of five 
months after completion of his currently- 
shooting "Edge of Doom." During the 
hiatus, he will likely farm out his stable 
of contract players to other studios. 
However, inasmuch as Goldwyn has 
turned out four major productions during 
the last year, RKO will be well supplied 
with Goldwyn releases. 

RKO is planning to rush its top produel) 





to the theaters early in 1950. Among 
those set for release during the late win- 
ter and early spring months are: "Holi- 
day Affair" (Robert Mitchum-Janet 
Leigh), "Bed of Roses" (Joan Fontaine- 
Robert Ryan-Zachary Scott), "Stromboli" 
(Ingrid Bergman), "Blind Spot" (Clau- 
dette Colbert), "Carriage Entrance" (Ro- 
bert Mitchum-Ava Gardner-Melvyn Doug- 
las), "The White Tower" (Glenn Ford- 
Alida Valli-Claude Rains-Oscar Homolka). 
In addition, there will be Walt Disney's 
"Cinderella" and Goldwyn's "My Foolish 
Heart" (Dana Andrews-Susan Hayward). 



| pOX enters 1950 rid- 

I ing the crest with 

I a pretentious backlog 

II of pictures awaiting 
I: release, a sure-fire 
I winner and Academy 

I Award applicant 
("Twelve O'clock 

II High"), just going in- 
I to release, and an im- 
? pressive and busy pro- 

d u c t i o n schedule 
I ahead. 

As to production plans for the coming 
months, Darryl F. Zanuck says he has 
I planned a well diversified slate, with fea- 
tures tailored to meet every taste. "We 
I will continue in the future as in the past," 
I he says, "to make as many pictures deal- 
I ing with the problems of modern day life 
I as we can find. However, these stories 
I must lend themselves to an entertaining 
I treatment." 

Mr. Zanuck points to "Gentlemen's 
I Agreement," "The Snake Pit" and "Pinky" 
I as examples of the type of pictures he 
I: has in mind. Just such a feature is "No 
1 Way Out," which is before the cameras at 
1 the present time. Joseph L. Mankiewicz 
I is directing the picture, which deals with 
I the problems of a young Negro interne. 
I The cast is headed by Richard Widmark, 
■ Stephen McNally and Linda Darnell, and 
Ij according to those who have seen some 
I of the early rushes, it promises to stack 
| up with the best efforts of the studio in 
that type of picture-making. 

In an important personnel change, 
Frank McCarthy, who for the past year 
has been executive assistant to Zanuck, 
was boosted to the producer ranks, and 
will serve as associate producer to Anatole 
Litvak on the up-coming production, "Call 
It Treason." 



TJNITED ARTISTS continues as the first 
^ Hollywood motion picture company to 
make a concession to the new medium of 
television, by selling live action rights to 
a number of its pictures. They will be 
telecast one-hour live versions of UA 
screenplays, similar to radio's Lux Radio 
Theater and Screen Guild Players air 
translations of Hollywood product. 

Stanley Kramer is the first producer to 
enter into negotiations on such a deal, 
with Lucky Strike bidding for rights to 
"Champion," his popular picture of last 
year. According to a report here in Hol- 
lywood, UA prexy Grad Sears has given 
the nod to such negotiations, on grounds 
that the telecasts will help plug the com- 
pany's product. Others for which the 
tobacco company is known to be dicker- 
ing are: "Pitfall," "Red River," "Home of 
the Brave," "The Time of Your Life," 
and "An Innocent Affair." Unlike the 
parallel in radio, however, it is unlikely 
that the telecasts will be able to employ 
the original casts in their version. 

By the time this reaches print, it is 
highly probable that Robert Stillman will 
have signed a six-picture deal with UA, 
which is said to be set up as a three-year 
deal. Present plans call for "The Con- 
demned" to tee off the Stillman program 
in March, to be followed by "Queen For A 
Day." The producer is known to be ne- 
gotiating for at least four other proper- 
ties to compete the projected slate. 

Harry Fopkin is also completing an im- 
pressive slate for UA release. This will 
be the inde producer's biggest year with 
four major productions set to go, and 
from four to six others in the lower bud- 
get class, expected to roll before the end 
of the year. 



•"THOSE IN THE know in Hollywood are 
predicting that 1950 will go down as 
one of the most memorable years in U-I's 
history. The many changes that took 
place during 1949 when the company was 
realigning its policies to meet present day 
production problems should really begin 
to bear fruit in the months immediately 
ahead. Perhaps no studio in town has 
pared overhead more effectively or more 
wisely than U-I, and the imposing con- 
tract list of new players will soon begin 
paying off. Already some of the com- 
plete unknowns of a few months ago are 
building up impressive fan followings 
that promise to vie with those of the 
high-salaried old-timers who are drawing 
down many times the salaries paid to the 

Furthermore, U-I has planned the most 
extensive schedule since the Rank tie-up 
for the new year. Thirty films — 12 of 
them to be prepared and produced as ex- 
tended run attractions — have been siated 
for 1950. This is five m~,-e than dur- 
ing 1949, and far ahead of the 1948 sche- 
dule. Furthermore, the new slate carries 
some of the most valuable story proper- 
ties ever attempted by the studio. 

Uppermost among the top properties 
is the Mary Chase stage hit, "Harvey," 
which will star James Stewart and Jo- 
sephine Hull. Another successful stage 
hit which the company will transfer to 
the screen is "Song of lMcvrway", to be 
filmed in Technicolor, wi h a top-notch 
cast still being lined up. 0!hers are: 
"Death On A Side Street" (James Mason- 
Marta Toren); "The World in His 
Arms", based on the Rex Beach novel; 
Desert Legion", an adaptation of the W. 
Somerset Maughan novH ; "Winchester 
73" (James Stewart); "A-> Cadet," a 
story of the U. S. Air Forces, and 
"Frenchie", a Technicolor western to 
star Shelley Winters. 





trast to the hiatus 
during January, a 
year ago, production 
got off to a flying 
start at Warner Bros, 
this month, with eight 
new films scheduled 
to roll in the first five 
weeks of the New 
Year. With three 
carry-overs from 1949 
continuing on the 
sound stages, the company will have a 
total of 11 in production by the early 
part of February. 

The new starters are: "Captain Hora- 
tio Hornblower," starring Gregory Peck, 
with Raoul Walsh directing; "Stop 
You're Killing Me" (Danny Kaye) ; 
"Lightning Strikes Twice" (Richard 
Todd),, with Henry Blanke producing 
and King Vidor directing; "Sugarfoot ' 
(Randolph Scott); "Road Block", Bryan 
Foy's first chore at U.I., which will in- 
troduce the new French star, Gaby An- 
dre; "Elmer, the Great" (Jack Carson); 
Milton Sperling's production of "Murder, 
Inc.", and "The Breaking Point", a Jerry 
Wald production. 

According to Jack Warner, carefully 
planned, highly diversified entertainment, 
with emphasis on fresh, provocative 
player combinations, will be Warner 
Brothers' continuing policy through 1950. 
He says: "We have proved the sound- 
ness of this policy by applying it to every 
picture we have made during 1949. The 
result has been a series of productions 
unmatched in the history of the com- 
pany for variety, freshness and public 

Warner also .reiterated his long-siand- 
ing policy of "reaching the theatres first 
with the latest." 



With independent motion picture 
companies practically at a stand- 
still, it's encouraging to note that 
Lippert Productions continues to 
lead the field with a full-steam- 
ahead policy. Between now and 
the first of June, the company will 
put between two and three pictures 
into production every month, to 
fulfill the previously announced 
1949-50 slate of 33 features. That 
figure represents a 100 per cent 
increase over the preceding year, 
and associates of Robert L. Lip- 
pert, the company prexy, are pre- 
dicting the 1950-51 schedule will be 
upped still further, probably to en- 
compass in the neighborhood of 40 
features. Hollywood could do with 
a few more producers of Lippert's 
business capabilities and dete.rmi- 
nal ion. 

.1 \MIARY 16, 1950 



Rates • • as dualler 

105 minutes 

Robert Cummings, Lizabeth Scott, Diana 
Lynn, Eve Arden, Ray Collins, Frank 
McHugh, Stanley Ridges, Louis Jean 
Heydt, John Bromfield, Kristine Miller, 
Lau,-a Eliot. 

Directed by William Dieterle. 

Copious suds of "soap opera" billow 
forth from this tear-jerker that was de- 
signed exclusively for the ladies who weep 
at radio serials in the afternoon. This 
damp, unhappy affair, produced by Hal 
Wallis, endeavors to show in contrasting 
lights, two women - good and bad - 
weep, suffer and sacrifice through a 
dreary length of melodrama. Here is 
the maternal instinct gone haywire to 
extremes of jealousy that will irritate the 
average spectator. The general tone of 
the picture is so lachrymose, its pace so 

Rates • • » — generally 

91 minutes 

Donald O'Connor, Patricia Medina, Ray 
Collins, John Mclntire, Zasu Pitts. 
Directed by Arthur Lubin. 

A novelty gimmick makes "Francis" 
one of the season's surprise film comedies. 
Just the notion of a mule that talks is 
funny in itself and this preposterous pre- 
mise saturates the picture with a hilar- 
ious succession of belly-laughs. It's a 
clever bit of nonsense presenting a screw- 
ball story with a great deal of fresh and 
original imagination. Now it can be told! 
We won the war in the Pacific because of 
a talking mule named "Francis." That's 
how ludicrous the plot gets and, with dead- 
panned seriousness, it is always amiable 
and mirth-provoking. And there is a lot 
of good-natured kidding of Army red tape 
that will panic the veterans in the audi- 
ence. "Francis" lacks top-flight name val- 
ues, but word-of-mouth should build it 
into one of the top comedy hits of the 
season. For exploitation, there are un- 

slow that most people will welcome the 
finish. "Paid In Full" will just get by as 
a dualler in family houses. Double it 
with a comedy or musical. 

Veteran director William Dieterle, who 
has contributed to the success of many 
a fine picture, must accept most of the 
blame, although a fair share should fall 
on the heavy-handed scripting by Robert 
Blees and Charles Schnee. It was based 
on a sensational article in Reader's Digest, 
which holds some measure of exploita- 
tion value. (It is not surprising that the 
final script skirts around the real theme 
of the article, which was artificial insemi- 
nation.) Failing to disperse the prevail- 
ing boredom are Lizabeth Scott, suffer- 
ing nobly with one set expression, and 
Diana Lynn registering most determined 
selfishness. Even the familiar man- 
chasing routine by Eve Arden is quite 
unfunny. Robert Cummings is adequate. 

STORY: Lizabeth Scott nurtures a se- 
cret longing for Robert Cummings, but 

limited possibilities for gags to spread the 
fame of that articulate hybrid. 

Though Donald O'Connor is starred, it's 
really the ornery, lop-eared critter that 
steals the show. The way they were able 
to synchronize the animal's lip movements 
with the sound track recorded by Chill 
Wills is amazing. (Wills received no cast 
credit out of modesty or, perhaps, morti- 
fication at personifying a mule.) He does 
succeed in sounding just the way an Ar- 
my mule would sound if it could talk. 
O'Connor gets the most out of his role as 
the wet-behind-the-ears second louie. Pa- 
tricia Medina is bust}' and alluring as the 
Mata Hari. In one of her too infrequent 
screen appearances, Zasu Pitts gets laughs 
with her drooping, limp manner, while 
John Mclntire and Ray Collins are excel- 
lent as the blustering brass hats. Arthur 
Lubin's direction is adroit, pulling maxi- 
mum laughs from the screwy yarn. 

STORY: In the Burmese jungle, Lt. 
Donald O'Connor is carried to safety by 
an Army mule, who casually introduces 
himself as "Francis." O'Connor reports 

her frivolous sister, Diana Lynn, grabs 
him off. After their brief honeymoon, 
Cummings returns to his advertising job 
where he works with Lizabeth. In time 
the couple have a baby and, as the child 
grows, Diana becomes an absurdly selfish 
mother, becoming enraged when any- 
one, including Cummings, shows it any 
attention. The secret is that she can not 
have another child. We learn also that 
child-birth would be fatal to Lizabeth. 
Finally, Diana leaves her husband and 
in her absence Cummings sees a lot of 
her sister. Diana returns to surprise them 
in a tete-a-tete and suspects the worst. 
In the excitement, the child is killed by 
Lizabeth's car. Diana gets her divorce and 
soon suffers a mental break-down, while 
Lizabeth quickly marries Cummings. As 
soon as she is pregnant, she goes away 
to have her baby and that is where the J 
flashback started. She dies in childbirth, 
leaving her child to her sister, who will 
never know who the father is. FARMBY. 

this unlikely story to his superior and is 
promptly carted off to the psycho ward to I 
weave a basket. Francis gets in touch I 
with him again and gives him some vital I 
information about enemy emplace- 1 
ments. O'Connor acts upon this in- 
formation and becomes a hero. But j 
again when he tells his C. O. — back to 
the psycho ward and his basket. This 
situation keeps repeating until his basket I 
is ceiling-high. Between trips to the ward, I 
O'Connor is transferred to G-2 and falls I 
for Patricia Medina, supposedly the daugh- I 
ter of a French planter. The account ol I 
the talking mule finally comes to the at- 1 
tention of the general, John Mclntire. He I 
interviews Francis, but decides to hush i 
the matter up before he also gets the bas- 1 
ket treatment. A press conference of war I 
correspondents finally reveals the mule's I 
amazing talent and exposes Patricia as anl 
enemy spy. With great military honor* 
Francis is flown to Washington and on the 
way miraculously survives a crash. The 
wind-up shows him reunited with O'Con-a 
nor in civilian life. ABRAMS. 



Rates * • + generally; more where exploited 

86 minutes 

Charles Bickford, Paul Kelly, Bonita Gran- 
ville, Richard Derr, Barry Kroeger, Eliza- 
beth Risdon, Roland Winters, John Ban- 
ner, Alfred Linder. 
Directed by Felix Feist. 

With the heavy artillery of ballyhoo 
turned upon this strident blast at Com- 
munism, boxoffice returns should be above 
average in houses where exploitation is 
effective. The published reports of the trial 
for treason of Cardinal Mindszenty are 
here laid on thick over a fiction frame- 
work to form a grim melodrama that has 
every indication of attracting and im- 
pressing a wide audience of sensation- 
seekers. The factual angles of the film 
story are derived from the book by the 
Overseas Press Club, "As We See Russia". 
That chapter dealing with the arrest, trial 
and imprisonment of the Hungarian pre- 

late is powerful dramatic material, en- 
hanced by credible performances and 
thorough documentation. The production 
has strong pictorial values, while the di- 
rection of Felix Feist is effective in lifting 
the script by Emmet Lavery out of the 
run-of-the-mill category. There are no 
light moments either in the story of the 
dialogue to alleviate the grim mood of 
foreboding that pervades the trial until 
its conclusion. This picture calls for a 
heavy exploitation campaign on the part 
of both the exhibitor and distributor to 
cash in on the public interest in the case 
of the Cardinal, which is due to come up 
before the United Nations soon. 

Charles Bickford was an excellent choice 
to express the firm and stubborn integrity 
of the Cardinal, while Paul Kelly is quite 
believable as the newspaperman who ob- 
served these happenings and lived to tell 
about it. A conventional romantic sub- 
plot is handled by Bonita Granville and 

Richard Derr. 

STORY: When the Cardinal (CharlesM 
Bickford) becomes caught up in the net 
of the Communist purge, correspondent 
Paul Kelly is constantly on the scene con«ll 
fronting and embarrassing the authorities!! 
with his queries. And for her freely ex-ll 
pressed faith in the Cardinal, Bonita Gran- 
ville is also marked for punishment. This 
brings the Colonel, Richard Derr in conJI 
flict between his love for the girl and hisB 
duty to arrest her. Despite him, she iSW 
arrested, tortured and finally dies. KellyH 
in his persistent investigations, survives! 
a brutal beating but doesn't give up. AM 
length Bickford comes to trial and them 
evidence is marshalled against him in a j 
harsh disregard of justice to eventually 
send him to life imprisonment. Derr isjfl 
murdered by political assassins, making iflfl 
appear an accidental fall from a windowjl 
And only Kelly remains among the prinB 
cipals to survive and tell his story to thlfl 



What the Newspaper Critics Say About Neu) Films 


Photographic splendor, authentic battle 
scenes and the original Italian back- 
ground were the virtues for which the 
New York newspaper critics heaped 
praise upon "Prince of Foxes," Twen- 
tieth Century-Fox's Renaissance extrava- 
ganza. Most reviewers, however, slap- 
ped at the film's lack in such depart- 
ment as direction, script, casting and 
dramatic action. Their contentions, sum- 
med up, indicate that the film is a swag- 
gering, costly costume spectacle to be 
enjoyed only by undiscriminating movie- 

To Alton Cook, in the World Telegram, 
the audience's indulgence is necessary 
for enjoyment of the film. "Skeptics," 
he says, "are likely to find it a ridiculous 
bore and are warned to stay away and 
not spoil the fun for more romantic 

Duly crediting the film for its superb 
photography and "stately magnificence," 
the Times' Bosley Crowther complains 
that "dramatic action rarely shows" 
while "curiously missing ... is the be- 
lievable breath of life and the sense of 
momentum and excitement that a story 
of the Renaissance should have." 

"This preposterous examination of the 
Renaissance is more corny than convinc- 
ing," writes Howard Barnes in the Her- 
ald Tribune. The picture is "chock-full 
of ridiculous violence," he continues, in- 
dicating a strong distaste for the "elab- 
orate and macabre account of the wicked 

Much more gentle in her opinions is 
the Sun's Eileen Creelman. She rates it 
"a colorful drama," handled "expertly 
nd luxuriously ... a romantic melo- 
drama done up in style." Lauding the 
photography as "a stunning piece of 
camera work," her one objection is to 
the story, which, she admits, "is no great 

Agreeing with the rest that the pic- 
ture "can at least boast of majestic set- 
tings," Seymour Peck, in the Compass, 
feels that for all its splendor "ultimately 
it falls flat on its face from its own 

The Post's Archer Winsten finds some 
aws but philosophizes: "if the public 
oesn't object, there's no reason why a 
ritic should pick at the small, discord- 
nt notes that are always found in such 
n entertainment." 



"It might be that some would find all of 
amusing and all might find some of it 
olerable . . . Fun is badly diluted when 
he moment's worth is nearly always over- 
alued for a full minute and a couple of 
ep'.ays." — WINSTEN, N. Y. POST. 

"A daffy little comedy ... A series of 
lapstick gags ... A lightly diverting piece 
hat doesn't pretend to be anything more 
han out-and-out escapist stuff." — PELS- 
"The spirit of Mack Sennett is merrily 
■evident in ... a wild farce-comedy to 
which Director Michael Curtiz has liber- 
ally and unashamedly applied the slap- 
jstick." T.M.P., N. Y. TIMES. 

"A fairly amusing comedy of invective 
. . . Like many such comedies, it has to 
pull very hard for the laughs after the 
first hour." GUERNSEY, N. Y. HER- 

"A rollicking piece . . . Silly but funny 
film . . . Wild-eyed farce . . . Good-natured, 
frantic." — CREELMAN, N. Y. SUN. 

"Will you try to forget the whole thing 
as soon as possible? Sure you will. 1 
will, too." — PECK, N. Y. COMPASS. 



"A salute to the Marines, a stirring and 
forceful drama of action in the Pacific . . . 
Has sweep, power and flaming action." — 

"The best war picture of the year . . . 
Has a rough-hewn quality that seems 
wholly appropriate to the dirty business in 
hand . . . No reason why 'Sands of Iwo 
Jima' should not be very popular, unless 
the public refuses to have anything to do 
with war this year . . . Makes a hell of a 
good and gripping picture." — WINSTEN, 
N. Y. POST. 

"Most graphic and stirring war picture 
that these postwar years have produced." 

"Carries a punch . . . Muddied a bit by 
a love story . . . Has a hard-bitten dash 
fitting to that celebrated branch of the 
services." — PIHODNA, N. Y. HERALD 

"Depends upon battle scenes for most 
of its excitement. These scenes are well 
done, violence and horror and heroism in 
equal proportions . . . Long, nearly two 
hours. It is an excellent war drama." - 

"There is so much savage realism . . . 
so much that reflects the true glory of 
the Marine Corps' contribution to victory 
in the Pacific that the film has undeniable 
moments of greatness ... So easily could 
have been a great war film instead of just 
a good one." — T.M.P., N. Y. TIMES. 



"Among the most substantial successes 
of the holiday season . . . Mirth does not 
flow very steadily but now and then be- 
comes very infectious." — COOK, N. Y. 

"One of the most delightful comedies 
of the year . . . Witty and adult." — PELS- 

"A bang-up frolic . . . See it you cer- 
tainly should . . . Delightful improvising 
on a nimble and fragile little tale of a 
violent courtroom rivalry . . . makes this 
current picture bounce and spin with tho- 
rough glee . . . Rambunctious spoof . . . 
Isn't solid food but it certainly is meaty 
and juicy and comically nourishing." - 

"Script tends to be repetitious, but it 
has satirical bite and persuasion. Court- 
room nonsense takes on new dramatic 
stature . . . Not a film to be remembered, 
but it is exceedingly engaging." 



"A sentimental and chin-up-old-boy 
drama . . . Whole impact of this awkward 
picture has unexpectedly turned out to 
be more anti-British than anti-Communist. 
At least the Russians seem to know what 
they are doing." — A. C, N. Y. WORLD 

"Pretty hard to swallow . . . Talk rings 
hollow and jumbled . . . Sadly lacks . . . 
clarity and perception." — T.M.P., N. Y. 

"About as effective as blank ammunition 
. . . Arguments so weighted against the 
Soviets . . . you may be inclined to root 
for the Reds. This is the sad result of 
most screen propaganda." - - PIHODNA, 

"Undoubtedly qualifies as The Bore of 
1949 . . . Fails to be the least convincing 
... A gloomy, somnolent film, photograph- 
ed largely in the dark, likely to act as a 
soporific on even the most patient movie- 
goer." — S.P., N. Y. COMPASS. 

"Essentially a religious fLm . . . Will 
win no friends in Moscow ... In spite of 
a serious religious theme, the picture has 
much humor." — CREELMAN, N. Y. SUN. 

"Tense and dramatic . . . Topical in 
theme." — PELSWICK, N. Y. JOURNAL 

"Undoubtedly will appeal to a great 
number of moviegoers who find in its 
theme ... a combined message of faith 
and fast ... A noteworthy picture . . . 
but a ponderous one, only occasionally lift- 
ed by light and bright touches." — 1 HIR- 
ER, N. Y. POST. 



"Though Danny Kaye throws himself 
into 'The Inspector General' with his cus- 
tomary comic frenzy . . . the movie is not 
as funny as Kaye fans might wish . . . 
Seems to strain too hard, to be thin and 
dry for long stretches . . . Huffs and puffs 
and doesn't bring the house down more 
than once or twice." — PECK, N. Y. COM- 

"At its best whenever Kaye bursts into 
song or dance . . . Perhaps we expect too 
much of Danny Kaye. Even a great per- 
former — and Danny is one — needs ma- 
terial with which to work." — THIRER, 

"Wonderful nonsense . . . An uproarious 
farce ... A wild melange of slapstick, 
pantomime, production numbers, straight 
plot and individual turns." — BARNES, 

"Gaily contrived farce-operetta ... A 
wonderfully cheering entertainment . . . 
and a grand lark . . . Dressed up in hand- 
some color . . . steps out as a thoroughly 
commanding presentation." CROW- 

"Kaye is in fine fettle . . . Likely to keep 
the people around the Strand very happy, 
especially the audience and the man who 
counts the money . . . Pure Kaye, and very 
high quality Kaye, too." — A. C, N. Y. 

"A lighthearted piece .. . Rather like a 
children's fairy story in some old, half- 
forgotten book." — CREELMAN, N. Y. 

"Broad slapstick." — PELSWICK, N. Y. 



"A sort of Far Eastern Western on 
screen . . . Gorgeously Technicolored, and 
in its way, a style show." — THIRER, 
N. Y. POST. 

"Has everything — everything, that is, 
which is by long and honored tradition in- 
cluded in romantic Technicolor dramas of 
the mysterious East . . . There are dancing 
girls . . . Moorish arches . . . desert bat- 
tles . . . blood-red rubies . . . and not a 
single, simple declarative sentence in the 
dialogue. Kismet and bismillah."— OLG, 

"All fancied up in Technicolor and some 
fantastic settings right out of Hollywood. 
The picture is pretty. The story is trash. 
The treatment seems designed to please 
juvenile audiences rather than adults." — 

J A N II A K V Id. I ') 5 II 




In the Release Chart, the date under "Details" refers to the 
issue in which cast, director, plot, etc., appeared. "Rel." 
is the national release date. "No." is the release number. 
"Rev." is the issue in which the review appeared. There 
may be variations in the running time in States where there 
is censorship. All new productions are on 1946-47 programs 
unless otherwise noted. (Tl immediately following title 
and running time denotes Technicolor production, (CI 
denotes Cinecolor. 


1949-50 Features 

Completed (48) 
Completed ( 2) 
Completed ( 9) 

In Production (1) 
In Production (0) 
In Production (0) 




Way Out 

Running Time 




1-2 . 






. 12-49 12-5 


COMPLETED 1949-50 • 

Adventures of Sir Galahad. The Reeves-Leigh 5-9 

A'l the i'in-'i Men <109> Crawford-Dru 12-6 

And Baby IHa'es Three (84) Younj-H.ilc 5-23 

Dela'ls un J er title: Ba l y Is Here 
Barhary Prate (65) Wood-Schnabel 3-28 

Bandits of El Dorado Starrett 6-6 

Beauty On Parade Hutton-Warrlck 11-7 

Behi-d This Mask Bogart-Grahame 11-7 

Details under title: In a Loicly Pace 

Beware of Blondie Sinole'on-Lake 8-29 

Be-o-d *hf Purple Ki Is Autry-Dcnn'son 12-19 

■lazing Trail Starrett-Burnette 1-31 

Blondie Hits the Jackpot (66) Singcto-'-Lake 10-25 12-49 1-2 

Bidvhotd ParVer-Alhrinht 8-99 

Cargo to Capetown Crawford-lreland-Drew .7-18 

COR"n Bill Mcruire-M.mro 5-1C 

;aptive Girl Weismul'er-Crabbe ...10-24 

Co* Town Autry-Davis 5-21 

Cowboy and the Indians. The Autry-Ryan 3-28 

C'.-t-m's A-e-it Eyt'e-Re nolds 12-19 . 

Devil's Henchmen. The (69) Baxter-Converse 11-8 12-49 

Father Is A Bachelor Holden-Gray 9-12 

Feudin' Rhythm (66) Arno'd-Henrv 7-m 12-49 

Forces 0 f Cartrtin Blood H-yward-Medina ....11-21 

Fro-tier Outpost Starrett-Burnctte 12-29 

Girl's School ReymH< -Hall 7-4 

Good Hnimi' Man Carson-Wallace 6-6 

Her WonderM Lie Kiepura-Eqgerth 11-10 

Details under title: The Eternal Melody 

Hne "own Arnold-O'Mahoney 7-4 

Holiday in Havana A"<az-Hatehtr 12-20 

Hors m~n of the Sierra (56) Starrett-Burnett . . .3-28. .9-49 

Jolson Sings Again (T) (96) Park<-Mal» 13-22 10-10 

Kill the Umpi-e Bendix-Henry 10-24 

Killer That Stalked New York, The Keyes-Korvin 12-5 

Loser Take All Mitchell -Nigh 3-15 

Details o-der title: Winner Take Nothing 

Lost One. The (82) Corradl-Mattera Foreign 

Los' Tribe. The WerssmiiHer-Dell 9-27 

Mark of the fiorilla WeiSTul'<r-Marshall . 9-26 

Ma-v Ryan. Deective Hnnt-Phil'ips 7-4 

Military Academy Clrmeits-Tyler 10-24 

Miss Grant Takes Richmond (87) Ba l-Hnlden 3-98 

Mr. Soft Touch C3) Ford-Keyes 8-30 . 

Mule Train Randall-Vincent 8-30.. 

Nevadan. The Courtland-Tyler 8-1.. 

No Sad Songs Frr Me aullivan -Corey 10-24. 

Outcast of Black Mesa Starrett-Burnett 11-7.. 

Palomino Autry-Ryan 11-21.. 

Potty Girl. The Cirmmings-Caulfleld ....9-26.. 

Prison Warfen Ba-ter-Lee 5-9. 

Reckless Mrtneit (82) Ma'nn_R>nnett 3-28. 

Renegades of the Sage (56) Starrett-Burnette 8-29. 

Riders in the Sky Autry-Henry 8-29. 

Details under title: Beyond the Purple Hills 
Riders of the Whistling Pines Autry-Whlte 7-5. 

Details ender title: Wings Westward 

Rogees of Sherwood Forest (T) Derrick-Lynn 9-12. 

Rusty's Birthday (60) Donaldson-Litel 2-28. 

Smoky Mountain Meloly (51) Acuff-Williams 12-16 

Sans of New Mexico Antiy-Davlt 7-4 

Tell It to the Judge (87) Kussell-Cummings 4-25 12-49 1-2 

Details under title: My Next Hesbind 

Tovyo Joe (?8> Bogart-Marly 1-17 11-49 11-21 

Trail of the Rustlers Starrett-Burnrtte 10-10 

Traveling Saleswoman Dav's-Dcvine 8—29 

Tyrant of the Sea VVMiiams-Rnndall 8-29 

Woman of Distinction Rossell-Mllland 8-1 

10-49 10-10 

. .9-49 12-5 

. . 8-49 

11-49 . 

11-49 . 



Air Hostess (61) Henry-Wright 9-27. . . 8-49 

Anna Loeata (86) Coldird-'-.rawford 1-31 ... 8-49 ... . 

Doolins ft Oklahoma (90) Scott-Allbritton 10-25... 7-49 

Johnny Allegro (81) Kaft-Foth 1-3 6-49 

Kazan (65) Dunne-Maxwell 1-31... 7-49 

Lone Wolf and His Lady, The (60) Seott-Malone 4-25. .8-49 

List For Gold (90) Ford-Lupino 11-8. . .6-49 10-24 

Details onder title: Bonanza 
Rim of the Canyon (70) Autry-Leslie 12-20 .7-49 

Secret of St. Ives, The (76) K<y-Bro«m 12-20 «-"9 

South of Death Valley (54) Starrett-Burnette 4-25 . 8-49 

«'a"e Pe>it«ntiarv Paxt r-'o^'h 12-19 

We Were Strangers (106) Jones-Garfleld 5-49 143. 


1C43-49 Features 


Completed (33) In Production (1) 


Chill Wills, Kristine Miller, Lois 
Producer: George Templeton 





Western Started Jan. 3 
Cast: John Barry more, 

Director: Alan LeMay 

Story: Not available. 


COMPLETED 1949-50 

Title — Running Time Cast Details Rel. 

Alice In Wonderland (A) Marsh-Murray Foreign .... Fell 

Cowboy and the Prizefighter Bannon-Nova Dec. 

Destination Moon Anr>rson-Archer 11-21 

Gay Lady, The Kcrt-Donald Foreign ... Dee. .. .013. 

Give Us This Cay Wanamak r-Pado ani Jan. 

Golden Gloves Story. The D'inn-Weitcrfall . 11-21 

Hidden Room, The (58) Newton-Gray Foreign ... Oct. .. .011 

Hit The Ice Abbott-Costello Reissue 

I'll Be Seeing Yco Roiers-Cotten Reissue 

Intermezzo (70) Bergman-Howard Reissue . .June 

Never Feir Frr est— Brassellc Jan 

Passport to Pimlco . . . . Ru'hcrford-Holloway Foreign CIO. 

Port of Ht- York Rradv-S'evens Dee. . . 009. 

Rebecca (SRO) Fontaine-Olivier Reissue ... July 

iarumba Dowling-Whalcn Jan.... 014 

Sundowners. The Preston-Dv«ns J'n 

Third Man, The Cot en-Valli Jan 

1 1>48-49 

Aqainst the Wind (95) Beatrv-?imnret Foreign . .Sept ... .965 

Black Book, The (89) Cummings-Dahl 9-13 ..Aog 926 

Details nnder title: Reign of Terror 

Black Shadows (62) Dcnumentary July 944 

Blaze of Glory WrA'lister-BuMer 11-7 

Dedee Signoret-Dalio Fofelgn Aug 


Down Memory Lane (72) Mack Sennett Shorts Aog 10-10 

Doel in the Sun (T) (138) Jones-Cotten 3-19.. Jone . ..4-14 

Easy Money (94) Gynt-Prre Fore oi . . . Ai'j . . . r 62 

Firhting Redhead Bannon-Stewart 6-20 . . Oct ... .955 

It's A Small World Kosh t7-0ale 11-21 

It's Moider Swit'er-Whalen 5-12 

Onee Upon a Deam (87) W f-ers-Jones Foreign . Sept. .. .942 

Paradine Case. The (117) Todd-Peck Jane 1-19 

Place of One's Own (94) Mason-Lokwood Forel n Sent. .. .961 J 

Portrait of Jennie (SRO) (86) Jones-Cot'en Joly 

Prizefighter and the Cowboy, The (C) . . . . Banron-Nova 9-12 

Ouartette (120) Baddely-Bogarde Foreign ... May. 

Pa-page M tch ll-L"nq 12-22 ... 

Spring in Park Lane (91) Neagl»-Wild : ng Foreinn Nov. 

Story of G.I. Joe Meredith-Mitchum .... Reissue . Sept. 

Tomorrow Vnn Die Irrland-Rvan 5-12 .. 

Trapped (78) BrHges-Hoyt 7-4... Oct. 

Waterloo Road (77) M'I's-Grang-r Foreinn Aug 

Weaker Sex (85) Pa-ker-Jeans Foreign . .Sept. 

Woman in the Hall (S3) Jrans-S mmons Fore'gn . .Aug 

Zamba (75) Hall-Vi-cnt Sept. 




Oil 10-24 




. 004 . 10-24 



Title — Running Tim' 





. 5-9 





'C'-Man (75) Jagger-Carrartine 

Cry Murder (94) Ma*h'W -i ord 

Daughter of the West (C) (77) vvv rs-Rerd f-27 .2-15 

Flving Saucer C-x-nd-Garrison J 

Four Days Leave WM J e-l»ay J 

Frustration (90) Lowenadler-Fridh ....Foreign 

Guilty Bystander Sco't-Eme-son 9-12. 

Inner Sanctum (62) Hoghe.-Russell 7-19... 9-48 10-25 

Lost Boundaries (97) Pearson-Ferrer 7-4 

Lovable Cheat. The (77) tuogles-Garner 1-31 . 4-15 4-11 

Not Wanted (91) Forest-Brasell, 3-14 

Pirates of Caori Havward-Barnes 

Project 'rX" (60) Cnltnn-Andes 10-7 

Starch for Danger (63) f.alvert-Oell 1-3 4-8 

Vicious Years Cock-Mcrritt 

1948-49 Features 


Completed (35) In Production (1) 



Drama — Started Jan. 9 

Cast: Tomi Brown. Russell Hayden 

Director: William Berke Producer: Joe Sawyer 

Story: Based on last year's news story of feeding frozen cattle by air. 





OMPLETED 1949-50 — 

Ti |e — Running Time Gi*t "i*»i|> 

I the Chief (60) Crrtis-Neal 

In, Inc. (60) Lowery-Gwynne 3-28 

Bon of Arizona. The Pr'ce-Drew 11-21 

, of the Forest lowcry-Curt s 

C>rado Ranjer EIM on-H'ythn 

Coked River EMi-oi-Hayfen .11-71 

Lon Gang. The (59) Barry L-wery *-15 

Inty Marshal (73) Langford-Hall 7-18 

EiykCy's Dan:in' r o le -Jackson 32-1'" 

ft on the Craw Fll son-«a"dea J-° 

I d Canjon (65) Arlen-Hunhes 5-73 

I ywood Varieties UMi-Hcosier Hotsl ots 

lile Coun ry Ellison-H Ven 32-5. 

It shal cf Heldorado EIM on -Ha den 

Bar Sec e: Service Ho ard-Je g ns 

|i Desert Rarry-Holt 8-15 

ilside (62) B-.r:y-:rown 4-25 

ftiner (61) Travis-B'ake £-9. 

li re Dance Jibilee Th irston-Hicks 

|le Is No Escape (63) Barry-Hughes 8-15 

. h Alignment Barry-ste le 

rtsure of Monte Cristo (78) langan-Jergens 6-6 

I of Brazos Ell s^n-Hayden 12-19 

I era Fa:ific /gsnt Ta;!o--Ryan 1-2 

ptrl «lr 

11-1, . .'824 
6 24 .481 

. 4902. 

11-13 4821 


.4 13. 


4 IS 

7-1 I 

11- 11. 

12- 17 

4' 14 
.4 23 


948-49 Features 

Completed (40) In Production (8) 



tama — Started Jan. 4 

Est: Cary Grant, Jose Ferrer, Paula Raymond, Signe Hasso, 

Ramon Novarro 
Irector: Richard Brooks Producer: Arthur Freed 

I ry: American doctor becomes involved in Latin-American revolution. 

lisical — Started Dec. 1 

tst: Kathryn Grayson, David NTiven, Mario Lanza, James 

(rector: Norman Taurog Producer: Joe Pasternack 

ftry: Musical romance in New Orleans in the Gay '90s. 


lama —Started Jan. 3 

tst: Hedy Lamarr, John Hodiak. James Whitmore, George 

Irector: Joseph Lewis Producer: Sam Marx 

fry: Smuggling of European aliens into U. S. from Cuba. 

Title — Running Time 


Soloman's Mines (T) . . . . 
4er Se?uel, The 


Cast Details 

Flynn-S'ockwcll 12-19 

Kcrr-Granger 11-7. 

Gar on-Pidgeon 10-10 


pe- S n-k Ga la-d-Ke [y . 

e L tt e V od-, (T) As:-ire-"k i:on 





p's Rill (101) Heniurn-- r racy 6-6 

I h ( r 9* Taylor-Holiak 6-20 . 

t Gel Your Gun (T) Huttin-Keel 10-24 . 

'It Jurg'e n-vv.-"a „ 11-21 

eqrrund (118) Jo n oa-Hod ak 4-25 . 

l:ms In The Dust Car ;an-P:d"e-n Reissu' 

f' Infidel (92) M rp y-«o' t-lban 2-14. 

rnge to Lassie <T) (76) Gwynn-Lassie 1-7 

|i-ator The Ta lo-- T ay'or 11-22 

fs Pco-wy Ta"lor-Paym nj ... 8-29 

r and the G rl. The (98) Ford-'_ci;h 5-9 . 

tails under title: Bodies and Souls 

to Me Only Tayhr-Johnson 8-29 

;tails under title: The Big Hangover 

t;s of Idaho (T) Williams-Johnson 11-7.. 

Side. West Side Stai wyck-Mason 8-1 

der in the Dust (87) Jarman-3ri*n 3-14 

ny Fa er (]07) Turner-Taylor . .Reissue . 

To The City Gab e-Young .8-1 

. The Kelly-Cel'i 8-15 . 

ime Bovary (114) lone<-Mason 1-3 

|ra Tracy-Stewart 2-28 

talis under title: Operation Malaya 

cry Street M-ntalban-Forrest 11-21.. 

y Goes to Rio Sothtrn-Powell 7-18 

the Town (T) (98)) Sin-tra-Kelly 4-11 

Door. The Sothern-Scott 4-25 

ders (T) McCrea-Pahl 8-29 

I Believe Me Kerr-Johnson 8-1 

Panube. The (119) Pidgeon-Barrymore 3-14 . 

jmer and the Redhead Powdl-Aliyson 10-10. 

Garden. The (92) O'Brien-Stockwe'l 10-25 

Street (83) G'ancer-O'Donnell 5-9. 

rer Surprises His Wife, The Walker-Leslie 11-21. 

in My Crown McC'ea-Drew 6-20 

ion (95) Tnt'cr-Bas'hart-Charrise 6-6 

Forsyte Woman (112) Garson-Flynn 1-3... Nov. 

Midnight Kiss . Grayson-lturhi 1-17 

i Cab Man. The Sk< 'ton-Beckett 9-26 

re Only Young Twice (T) Stockwell-Beckett 9-26 


Number Can Play Gable-Smith 

leys of Broadway (109) 
it Sinner. The (110) . . . 
he Gro1 Old Summertime 'T , 2' 
i of the Crime (94) . . 
tton Story, The (106) 

. 12-s 

J n 
r eV 


. 5. 

.8-2 ' 



F b 


. .9. 10-24 









D-c 12-19 



.4. . .9-25 




Nov 11-21 


.Sept 1 


1949-50 Features 

Allied Artists 

Completed ( 8) 
Completed ( 2) 
Completed ( 8) 

In Production (0) 
In Production (1) 
In Production (0) 


... 1-17 . . 

.July. . 

930. . 

. 6-6 

. Rooers-Astaire 

8-2 . . 

. May . 

. .925. . 



10-25 . 

.Aug. . 

.923. . 



12-6 . . 


. .93? 



. . .2-14. 


. . .7-4 

.Stcwart-Allyson . . . 


. July. 

. .929. 

. .4-25 




Western— Started Jan. 19 
Cast: Johnny Mack Brown 
Director: William Fox 

Story: Not available. 


COMPLETED — . 1949-50 

Tile. — Running Tim* Cast n ' 

B:onfe Dy: amite . G-rcey-Hall 

Blue Grass of Keaiucky Wi M m -Nigh "4 .1 "1 

Fence Riders Wil on-"lyde 72-5. . 1 • 

Henry Does It Again Raymond Walburn 2 1 

Joe Palooka in Horeymo:n for Five Kirkwood-Errol i]-" 1 ?-" 

K Her Shark M:Dcwe'l-Norris '1 '1 3-1" 

Roaring Trails M?c'< B o»n 11-19 .■»-" 

Six-Gun Mesa Brown-Davis 1-f-fO 

Square Dance Katy . . Ka y-cavi; 3-25 

Details under title: Murder in thr Air 

Young Daniel Boone (C) Bruce-Miller 2-2Z 


An-els in D srjui e (C3) I.orcey-Ha'l 7-4 .9-25 

Black MidngM (66) Mclrwall-Thomas 7-4 . 10-2 

Bm'a on Pa 'her Isla d Shefflel J— Beebe 10-10 12-13 

Forgot'en Women (65) Kno<-Lyneh 4-25 7-17 

H>unte' Trail, (£0) Wilson-Clyde 7-4 . 9-4 

Jiggs a-'d Magi e in Jackpot Jit'ers (66) Yule-Riano 7-4... £-11 

Joe Palooka in the Counterpunch (74) Kirkwood-Knox 3-14 .8-14 

Lawless Code <58) Wakely-Taylor 12-4 

Masterminds Gorcry-Hall 11-20 

Range Justice (57) Brown-Terhune 5-23 .. .8-7 

Details under title: Cattle King 

Range Land ( 6) Wilson-Browne 12-25. 

Riders of the Dusk (57) Wilson-Cyde 11-13 

Roaring Westward (55) Wakeley-Taylor 6-20 . . 9-4 

Trail of the Yukon (67) Grant-Dalbert 6-* 

Wolf Hunters, The Grant-Clayton 9-12 


Massacre River (78) Madison-Calhoun 9-27 

Details under title: When a Man's a Man 

My Brother Jonathan (105) Denison-Gray Foreign 

S amppde (78) Cameron-Storm W -25 

There's a Girl in My Heart (86) Jcan-fiyan 8-1 

Producer: Same 

4~0 1 . 


4 U 

9T. . 
<• -o 

.45" 1. 
. S22 

4 02. 

4'0 r . 

. '84? . 

.4 08 





. 7-20 9 . 

7- 6 

8- 1 

:o. . 





1949-50 Features 

Completed (24) In Production (1) 



Title — Running Time Cast 
Place la The S n. A :1ft Wines .. 

COMPLETED 1949-50 

After Midnight L^'M "en-Tiv 

Caotain China Payne-Russell . . 

Chicico Deadl ne («7) Ladd-Reed ... 

Details under title: One Woman 

Copper Cannon (T) Mi'l-n-<-i am-r- 

Dear Wife (88) Ho den-Cau field 

Eagle and the Hawk, The Payn:-Fleming 

Fancy Pa-.ts Hope-3a:i 

Details unrier title: Where Men Are Men 
Furies, T"ie Staawyck-Corey 


"0 24 

4 25 


8-l r . 
. 7-4 

12- r 



. i-eH-v lland-Clift . 7-5 9 1 



Heiress, The (115) 

Lrwle;s The 

D? ai s une'e- ti le: Out:aje Carey-Russell 

Let's Dance (T) Hu'ton-Astaire 

Lie, The Stanwyck-Lund 

Details unoer title: I Married A Dead Man 

Mr. Music Crcsby-Hussey 

Paid in Full Scott-Cummings . .10-25 

Red. Hot and Blue (84) Hutton-Mature 1-31 

Biding High crosby-Gray 3-28 

Rope of Sand (105) Lancaster-Calvert . 2-14 

Samson and Delilah (T) (128) Laman— Mature 

September Fontainc-Cotten 

Song of Surrender (93 > Ralns-Hendrlx ... 

uetails under title: Abigail, Dear Heart 

Sonset Boulevard Holden-Swanson 4-25 

Thelma Jordon (100) Stanwyck-Corey 2-28 

Top 0' the Morning (S9) Crosby-Blythe 11-22 

United States Mail Ladd-Calvert 8-15 

Details under title: Postal Inspector 

.3 50 

11-25. 4 06 . 7-1 

,4- r 0 

.9-23. .4902 1-4 

1^-25 H..21 


.10-21 . .4904 .9-26 

l- r 0 11-21 

. . .9-5. .4901 .8-15 



Title — Running Time Cast Details Rel. 

Bank Dick (72) Fic'ds-Mrrkel 8-49 

Double Alibi (61) Morm-Lindsay 8-49 

Dracula's Daughter (71) Krugcr-Holdcn 7-49 

Frisco Sal (94) Fostcr-Bcy 9-49 

Fury At Sea (92) Tone-Carroll 9-41. 

Legion of Lost Flyers (63) Lund gan-Carson 9-41 

Never Give a Sucker an Even Bnak (7) ,. Fields-Jean 8-4") 

Nloht Monster (72) Lugosl-Atwlll 7-49. 

Spy Ring (61) Wyman-Hall 8-49. 

Sun Never Sets. The (96) Fairbanks-Rathbone 9-49 

You Can't Cheat an Honest Man (75) . Flolds-Bergcn 10-49 



\ \ I \ \\ \ I (> . 19 5 0 11 


1949 50 Features 

Completed (15) 
Completed (0) 
Completed ( 7) 

In Production (0) 
In Production (0) 
In Production (1) 

Mel Tucker- 




Western— Started Dec. 16 

Cast: William Elliott, Walter Brennan, Marie Windsor 
Director: Stuart and Dorrell McGovvan Producer: W. O'Sullivan 

Slory: Cattle Trek in the early west. 


Western — Started Jan. 4 

Cast: Monte Hale, Paul Hurst, Aline Towne 
Director: Philip Ford Producer 

Story: Not available. 


COMPLETED 1949-50 

Title — Running Time od>i Oetails Rel 

Arizona Cowtoy Jl'en 4-25 

Avengers, The Carmll-Mara ..... .3-14. . . . . . '. . . . . . . '. 

Belle of Old Me ico Ridrinuez-Rockv.ll 8-29 . 4JC6 

Bells of Oronado (Tr) Rogers-Evans 8-15 1-8 . .4941 

Blonde Bandit. Th- Rockwe'l-Patrick 9-26 . . 12-22 ... 4904 

Fefe-rl Ar«-f$ at Larne Tavlor-°atrick 11-21. .. 

Fighting Kentuckian, The (100) Wayne-Ralston 3-28 

Details under title: A Strange Caravan 

Gunmen of Abilene L^c-Waller 11-7 

Kid from Cleveland. The (89) B-en;-Bari 6-6. 

Pioneer Marshal Hale-H|irst 9-26 

Port cf Miosinn Men re n;nn-Tcwers 12-19., 

Powder River Rustlers (60) Lane-Walter .9-1? 

Redwood Forest Trail Allen-Donnell 

Roek Island Tra I (C) Wavne-Mara 

Sands of Iwo Jima (110) ) 

Savage Horde. The 

Detail* under title: Crosswinds 

Singir.g Guns (C) Monroe-Raines 10-24 

Sleep M] Wi-.ter EMiott-Brennan 1-16 

Sooth of Rio Lana 5-23 .7-22 

Tarnished Patick-Lydon 11-21 2-28 

Tr'gg r. Jr Ronrrs- Evans 1?-19 

Twilight in the Sierras Rogers-Evans 10-10 

Unmasked Fuller-Rockwell 10-24 .1-30. 


.10-5. . .4902 .9-26 


9-5 . . . *f 01 . 





.8-1 4905 


Wa>n--Mara 8-1 

Eiliott-Booth 3-23 


Alias the Champ Rockwe l-George 

Bandit King of Texas Lane-Wa'l r 5-23 

Brimstone (Tr) Cameron-Booth 4-11 

Code of the Silver Sage Lan:-Waller . . . 

Down Dakota Way (Tr) (67) Rogers-Evans . . . 

Flame of Youth (60) Fdller-Nolan ... 

Details under title: High School Daughter* 

. . 8-29 . . 
. .8-15 . . 


Frontier 1 nve tlgatnr Lane-Ford 

Golden Stallion, The (Tr) (67) Rogers-Evans 



. . 9-9. . 


. .9-26 


. . 9-22 . . 




. .7-28. . 



. 5-2.. 

. 865 


.11-15. . 

. 844 

. 6-20 

Navajo Trail Raiders Lane-Waller 8-1 

Post Office Investigator (60) 
Ranger of Cherrkee Strip . . 
Red Menace, The (87) 

San Antone Ambush 

Wyoming Bandit, The (60) 

Do ,g!as— Long 6-6 

Hale-Hurst 8-15 

. 11-4 . 


Rockwell-Axman 8—1.. 

Hale-Hurst 8-15 


. 4-25 . 

. 7-15 . . 




1949-50 Features 

Completed (43) In Production (5) 



Holiday Affair (87) Mikhum-Leigh 8-1 12- 

Details under title: Christmas Gift 

Rider, of the R?nje (60) Holt-Martin 5-9 .3 

Threat, The (66) O'Shea-Grey 6-20 

Details under title: Terror 


Alice in Wonderland (T) Disney Cartoon 

Arizona Ambush Holi-Martin 7-4 

3ed of Ro^es Fonta ne-Ryan 7-4 

Blind Spot Colbert-Ryan 11-7 

Capture, The Avre .-Wright 8-29 

Carriage Entrance Gardner-Mitchum ....10-10 

Dynam te Trail Koit-Martin 9-26 

Gun Thjnder Holt-Martin 10-24 

It's Only Money Sinatra-Russell ..12-6 

Mau «;(..i>ia. 8U; lluyd-Waiburn 10-1 St| 

Rev under t. lie : Sin of Harold Oiddlebock 

Ootlaw. The Riitsrll-Begtel 

Range War Toll-Martin 8-1 

Stromboli Bcrgman-Vitale 5-9 

Details under title: After the Storm 

Tarzan and the Slave Girl Barker-Brown 9-12 

Treasure Island (T) Driscoll-Newton 

Unuei Arizona Skies holl-Leslu 9-1 

Vendetta UeGenrg. -Brooks 8-19 Hfs 

Weep No More rc ten Valli 5-10 

white Tow-r. The VaT-Ford 8-29 

O r Very Own Granger-Blyth 9-12 

0 tails under title: With All My Love 


Bride for Sale (87) Colbert-Young 3-14 

Details under title: Love Is Big Business 

Cinderella (T) (70) Ois-ey Cartoon Feature M 

Ichabod and Mr. Toad (T) (68) Disney Cartoon 9-13, 

Man on the Eiffei Tower (T) (£7) loiit-La rhton iM 

Mighty Joe Young (94) Johnson-Armstrong 1-5 6^ 

Detais under title: Mr. Jos. Young of Afrlra 

M> Fno'i h Heart (99) Anir-ws-Hayward 7—4 ll»f 

Rosea-na Me*o» '8 ) Cranjer-Evans 11-22 8-29 

She Wore a Yellow Ribbon (T) (103) ... Wayne-Dru 11-22 W 




Completed ( 6) In Production (0) 



Tile — Running Time Cast Details 

Fallen Idol, The R i< Inrdso '-Morgan Foreign 

Gone To Earth Jone -F^rrar . Foreign 

Third Man, The Cttcn-Vrlh Foreign . 1-15 






1950 Features 
1949 Features 

Completed (20) 
Completed (44) 

In Production (2) 
In Production (0) 



Ti le — Running Time Cast Details 

My Bite Heaven (T) Grrb'e-Da ley 12-19 

Outbreak Wijmn k-3el Geddes . . . .1-2. 



Big Fall 


Garfield-Prelle 10-10. 

Clift-Douglas 8-1. 



Drama — Started Jan. 7 

Cast: Robert Mitchum, Faith Domergue 

Director: John Farrow 

Producers: Irving Cummings, Jr. and Irwin Allen 

Story: Insane woman attempts to involve doctor in murder case. 



Title — Running Time Cast Details Rel. No. Rev 

Com- Share My Love Dunne-MacMurray .12-19 

Edge of Dcod Andrews-Granger 12-3 

Jet Pilot (T) Wayre-Legh 12-19 

Sors of the Musketeers (T) Wilde-O'Hara 1-2 



Big Steal, The (71) Mitchum-Bendix 1-17 6-2 0 

SUgecoach Kid (60) Holt-Donnell 11-8 6-2C 


Easy Living (77) Mature-Ball 7-19 8-23 

Details under title: In'erference 

Follow Me Puietly (59) Lundigan-Patrick 8-30 7-18 

Make Mine Laughs (64) Lamb-Lancford 5-23 8-15 

Mys'erious Despera-'o (61) Holt-Martin 4-11 

Savage Splendor (T) (60) Travelogue 8-1 


Arctic Fury (61) Cambre-Mi'.ler 10-10 

I Married A Communist (73) Day-Rvan 5-9 10-11 

Strange Ba gain (68) Lynn-Seott 12-6 10-10 

Details under title: Sam Wynne 

MasieJ Raiders (60) Holt-Martin 6-21 10-10 

Tliey Live By Night (95) O'Donnell-Granger 7-7 7-5 

Details under title: The Twisted Road 


Dangerous Profession (79) Raft-O'Brien 5-9 11-7 

Details under title: The Bail Bond Story 

Big Lift. The 

Details under ti'.le: Tv.o Corridors Easi 

Black Rose, The Power 5-23 

Broken Arrow Stcwart-?aget 6-20 

Details under title: Arrow 

Caribou Trail, The Scott-Williams 9-12 

Cheaper By The Dozen <T) Crain-Webb 11-7 

Come To The Stable (94) Young-Holm 1-3... Sep 

Everybody Does It (98) Darnell-Douglas 3-14 ...No» 

Fan, The (79) Crain-Sanders 7-19. .. Oet 

Fighting Man of the Plains (C) (£4) . . . S« t-Jory 6-20... Nov. 

Forbidden Street. The (91) Andrews-O'Hara June 

House of Strangers (101) Robinson-Hayward . ... 12-20. .. July 

Details under title: East Side Story 

I Was a Male War Bride (105) G -nt-Shcridan 11-8 Sep 

No Way Out Darnell-Widmark 11-7 

Oh, You Beautiful Doll (93) S evens-Haver 1-3 

Pinky (102) ... .. Craia-Lundigan 3-28 

Prince of Foxes (107) Power-Hendrix 11-8 

Slavery's Hurricane (83) vVldmark-Darnell 12-20 

Thieves' Highway (94) Conte-Oakie 11-22 

uetails under title: Hard Bargain 

•V t II James' Sand (T) (77) Stevens-Gray 7-5 ..Joly. 

fou're My Everything (T) (94) Dailey-Baxter 12-6 ..Aag. 

Drknta Lil (C) (88) Montgomery-Windsor 

.922. ...m 
926. . 9J! 
924. . .8-1! 
930 11-2 
. .904. . .5-fe 
.919. .6-8 

•23 8-1 

Nov. . . 927 .9-2 

No. 931 10-H 

Dec S29 8-2 

Aug 8-2 

Ott 924 .94 




Details under title: The Bandwagon 

Gun Fighters, The Peck-Parker 10-10 

Mother Didn't Tell Me (88) McGjire— Lundigan 6-20 

Details under title: Oh, Ooctor! 

Night and the City Tierney-Widmark 8-29 

Three Came Home (106) Colbert-Marshall 5-9 

Tleket to Tomahawk (T) Dailey-Baxter 8-29 

Turned Up Toes Peters-Romero 7-4 

Twelve O'C'ock High (132) Peck-Mitchell 5-9 

Wabash Avenue Grable-Mature 6-6 

When Willie Comes Maching Heme (82) D*iley-Calvel 7-4 

Whirlpool (97) Tierney-Conte 

Fen. . 

. .005 

. . Jan. . 

. 031 


. . Mar. . 

. 006 



Feb. . 

. 004 


Feb . 

. 002 






1949-50 Features 

Completed (21) In Production (0) 



- 1949-50 ■ 

Title — Running Time Cast Details R<l Nn R.« 

l| Wheel, Th« (92) Rooney-Mitchcll 7-4.. 11-5 R-S 10-24 

lack Magic (105) Wei:*,-Guild Aug Sml 

hantpagne for Caesar Cuman-Holm 8-29 

eadly Is the Female (84) Cummins-Oall 7-4 .... 1-6 .... King 

■ •■ A O'Brien-Britton 9-12 

>cape If You Can Henreid-McCleod Dani 

lere Lies Love Yiung-Drake 11-21 

ome of the Brave (85) Edwards-Bridges 3-. 4 . 6-17 Kr 5-9 

idlan Scout (71) Mon'gornery-Drew 7-5 1-7 Sml 

■oquois Trail, The Montgomery-Marshall .10-24 

tinny Holiday Bendix-Martin 8-1 Aleo 

tinny Oat-Eye O'Brien-Morris Bog 

iss For Corliss (88) Temple-Niven 7-4 . . 11-25 ... M-L 

■v» Happy (91) Marx Bros 8-2 8-5 P-C 

Deta Is under title Blonde Heaven 

The- B.-anrto-Wright 11-21 

rs. Mike <f9> Powell-Keyes 7-4. 12-17 Fis 

ice Over Lightly Henr:ri»-0'Brien 1-2 

icksand Roonry-Cagney 3-28 

iiat Kind of Man Romero-McDonald 11-21 

Details under title: The Iron Cage 

lipped. The Duryea-Storm 9-12 


Jlse Paradise Bcyd-3rroks .... 9-1 

ieat Dan Patch, The (95) Russcll-O'Keefe 12-6 

Light (83) Mayo-Raft 3-14 

jn's Cradle Caril'o-Renaldo 8-15 

Late for Tears (99) Scott-Duryea 9-2; 7-8 . . .Smg 

Honor (69) Day-Tone 10-21 Hak 



1949-50 Features 

Completed (24) In Production (1) 



omedy— Started Jan. 3 

hast: Diana Lynn, Roc Hudson, Charlotte Greenwood Charles 

irector: Frederick de Cordova Producer: Ralph Dietrich 

■ory: Romantic comedy told against the background of Pasadena's Tournament 
of Roses. 




Title— Running Time 
lam and Evalyn (S2) 

Ifidad (T) (82) 

Ije Lagoon, The (T) (101) 


■vie Knife, The (T) 

■ cancer's Girl 

Ip'ain Roycnf (92) 

Ijfidential Sqoad 

I)etails under title: Web of the City 

Wain Call at Cactus Creek 

Hth on a Side Street 


I'ble C 03Stones 

|e For All (83) 


ret (153) 

From Texas 

and Pa Kettle Go To Town 

Ide the Wall 

Jed O'Riordans (76) 



etails under title: East of Java 

h Sea Sinner (88) 

v of Molly X. The (100) 

it Little Island (81) 

ertow (70) 

etails under title: Frameup 

lan In Hiding (£2)) 

letails under title: Fugitive from Terror 



Details Rel. 
Foreign . . Dec . 

6-6 . Nov. . . 903. .12-5 

Foreign . . . Aug .8-15 



M-c Murray- Trevor 

O'Hara-Cary 8-29 

deCarlo-Friend . 8-15 

lenie— Klrby 4_ 6 

Conle-Gray 11_7 

O'Cnnnor-arden 2-28 

Mason-Toren 12-5 ..... 

Toren-Chandler 10-10 

O'Connor-Carter 10-10 ....... 

Cummings-B ythe 7-4. . Nov 901 11-21 

O'Ccnnor-Pitts 5-23 Feb 

Oiivler-H-rlie Foreign 7-1^ 

Murphy-Storm 6-6 . M?r 

Main-Kilbride 8-29 

Base hut-Maxwell 9-26 ... Mar . . 

O'Malliy-Pate Jan. . 

Brady-Freeman 11-7 ....... 

Murohy-Hendrix 9-12 

Winters-Carey 7-1 . J-n 

Havoc-Brady 8-1. 

Radford-Greenwood Foreign 
Brauy-K'.'ssell 8-29 

. ri'ov . 932 . . 11-21 

. Cec . .12-19 

Lupino-Duff 8-15. . .Jan. 


doned (79) S orm-O'Keefc 

C Meet the Killer, Boris Karloff Abbott-Costello 2-28 

Manhunt (69) Conrad-Thurston 

imlty Jane and Sam Bass (T) (85) . . .deCarlo-Duff ......... 10-25 ,'. 

stopher Coluir.bus <T) (104) March-Eldredge 

Across the River (90) Curtis-Jaeckel 10-11 . 

Iletalls under title: Amboy Dukes 

Jin', Fuisln' and Flghlln' (78 O'Connor-Main 3-1.. 

etails under title: The Wonderful Race at Rimrock 

Who Took the West (T) (84) DeCarlo-Brady 2-14.. 

etails under title: The Western Story 

lal Entry (84) Duff-Toren 12-20 

my Stool Pigeon (75) Duff-Winters 4-11.. 

'etails under title: Partners in Crime 

Gambles. The (99) Stanwyck-preston 12-20 

-Eater tf Koaacn (79) Sabg-Page 12-22.. 

More. My Darling (92) Montgorrery-Blyth 

Woman's Story (86) Todd-Rains Foreign 

rd in the Desert (100) Andnws-McNally 3-14 

Sir, That's My Baby (82) O'Connor-DeHaven 1-3. 

nan Hater (69) Grangcr-Fevlllere Foreign 

. Aug 

J "ly 



690 f,-< 

708 10-24 

July. . . 665 6-21 
. Sep . . 


Ju y 


June . 



July . . .701 

.693 . .5- 
666 . . .7- 


697 . . 6-6 
709 8-29 

1949-50 Features 

Completed (27) In Production (3) 



Title — Running Time Cast Details 

Bright Leaf 12-5. 

Storm Center Rose s-Rea;tn 12-5 

COMPLETED 1949-50 - 

After Nightfall Brian-Reynolds 8-29 

Always Leave Them Laurh'ng (116) Berle-Mayo 8-1 

BackSre CI) L'nif jrs-O'Brien 8-16 

Details under • 'e: Somewhere In the City 

Bar-ieade Clark-Massey 4-25 

Beyond the Forest (96) Tav s-Cotten 6-6 

Cage, The parker-Moorhead 8-1 

Casablanca (10^1 Bogart-Bergman Reissue 

Castle on the Hudson '77) Garfield-Sheridan ....Reissue 

Chain Lightning Bojart-Parker 6-6 

Colt .45 (T) Scott-Roman 12-5 

Daughter of Rosie O'Gray (T) Haver-IYIncRac 8-29 

. . 1-14 . 


Farewell to Arms (78) Hayes-Coorer Reissue 

Glass Menagerie, The Lawrence-Wyman 11-7 

Has'y Heart, The (93) Regm-Neal 2-28 

Hatche man, Tin (74) R;binson-Young Rci sue 

Hawk tni the Arrow, The Lancaster- Mayo 

House Across the Street (69) Morris-Paige 8-16 

Inspector General, The (T) (102) Kaye-Bate; 8-30 

Details under title: Happy Times 
Lady Takes A Sailor, The (99) Wymzn-Morgm 3-28 

Details under title: Octopus and Miss Smith 

Man >.ra (T) (76)) Flynn- Smith 9-53 

North of the Rio Grande McCrea-Mayo ?-27 

D tails under title: Colorado Tei inry 

Per'ec! Strargers Rogers-Morgan 7-4 

Pretty Ba.y S:o t-Vorgan 1-2 

Return of the Frontiersmen MacRac-Calhoun ... 4-25 

Sergeant York (134) Cooper-Brennan . .Reissue 

Silver Lining (T) H>v r-Bdrei 4-26 

Stage Fright Wyman-Dietrich 7-4 

Story of Seabiscuit, The (T) (93) Temple-McCa lister 4-25 

Details under title: Always Sweethearts 

Task Force (116) Cooper- Vorris 11-8 

This Side of the Law Lindfors-Snilth 10-25 

Details under title: "Deadlock" 

Under Capricorn (T) (117) Bergman-Cotten 9-27 . 10-8 

Vict'm, The Cr^w'ord-Srian 

White Heat (114) Tagn'y-Mryo .. 

Young Man With A Horn 






. ri _ 


. 10-22 . 

. .906. 

. .11-7 


. .825 
. .819 
r 05 


. .rc9 

913 .12-19 


.9-10. . 902 8-21 
12-31. . '22 .12-5 

yn 12-13 

4-9 . 





. . .5-24 . 





. Dougias-Racall 7-18 


Flamingo Road (94 1 Crawfori 

Fountainhead, The >113) Cooner- 

G-Man (85) Cag^ey 

Girl from Jones Beach, The (78) Reagan- 
Look for the Silver Lining (T) (1C6) . Haver-B 
My Dream Is Yours (T) (lOJi Carson- 
Night Unto Night (84) . Lindfon 

Your Service — Out Responsibility 


Member Nat'l I ilm Carriers 

250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 


We thank all theatre owners and managers who 
cooperated with us by putting return trailers in the 
proper addressed containers and for wrapping 
and addressing all return advertising. 

We can serve all theatres better if they give us 
a copy of their program Tuesday each week. 


Don't /nit your return film in the lohhr until nil your 
patrons have left after the lust show. 


236 N. 23rd St., Phila. 3 — 1239 Vine St., Phila. 7 
LOcust 4 0100 

Member National Film Carriers 

'. 9-2} 

6-11 . . 







. .7-2.. 

. .827. 

. .7-4 

Rehsue . 


. .826 


.7-16. . 


. 7^1 






.4-16. . 



n 5-30. 

5-14 . . 

. .822. 


A N II A R Y If.. 19 5 0 


Film Classics, Inc NOW RELEASING 



$3 per Year 




20 th Century 
Makes Bay! 

Editorial by MO WAX 
Page Five 





10 M E' . . . will be 
among the brightest 
attractions of 1950. ..and one 
of the year's best comedies!/ 

—Red Kann 

Everybody's sayi ng it : 

Ml II I I «— — | , 

"A laugh riot! One of the 
funniest comedies that has 
been produced in some 
time!" — Harrison's Reports 

"A whammo comedy. Just 
as fine as 'Male War Bride'. 
Will rack up sock grosses." 

— Variety 

"One of the funniest in many 
a moon!" — The Exhibitor 

When you get hits like these. . • 


and coming up... MOTHER DIDN'T TELL ME 

' / / 





Broke 20-year, all-time record 
Boyd, Philadelphia! 

Sets new Hold-over Records Every- 




First 13 spots top "Stratton Story." 
Latest at Buffalo and Springfield, 
Mass., top "Adam's Rib" and "Good 
Old Summertime." 


It is challenging the phenomenal 
grosses of "Easter Parade" and top- 
ping M-G-M's Biggest! 



Best M-G-M non-holiday business 
in a year at Capitol, N. Y. and 
everywhere running neck-and-neck 
with the Big Ones of the past year! 
ACTION at the box-office! 

4 Big Weeks at Capitol, N. Y., are 
top gross in 2 years! It's a Rio 
from Coast to Coast with national 
average ahead of the year's greatest 
M-G-M Hits! 



30 cities spanning the nation tell 
the happy story of another bif 
M-G-Money attraction that confiflE 
the forecast: "M-G-M Nifty in 195,0-i 

(What Have You Done Today To Help Kill The 20% Federal Mot 



Vol. 18. Ni. 

January 30, 1950 

Page Five 

Are You Preparing 
To Do Your Bit 

Feb. 19-26 


flLM BULLETIN — An Independent Mo'.ion Picture 
Trade Paper published every other Monday by Film 
Bulletin Company. Mo Wax, Editor and Publisher. 
BUSINESS OFFICE: 75 West 45th St., New York, 
19; Circle 6-9159. David A. Bader, Business 
1239 Vine St., Philadelphia 7, Pa., Rltten- 
house 6-7424: Barney Stein, Managing Editor; Jack 
Taylor, Publication Manager; Robert Heath, Circu- 
lation Manager. HOLLYWOOD OFFICE: 659 Haver- 
'ord Ave., Pacific Palisades, Calif., Hillside 8183; 
lay Allen, Hollywood Editor. Subscription Rate: 
>NE YEAR. $3.00 In the United States; Canada. 
.4.00; Europe, $5.00. TWO YEARS, $5.00 In the 
Initcd States; Canada, $7.50; Europe, $9.00. 

On numerous occasions in the past we have been in Samuel Goldwyn's 
corner, seconding him in his battles againsst certain evils of our industry. But 
of late he has been giving the impression of hunting headlines to cover up 
some below-par Goldwyn pictures, so FILM BULLETIN is in the opposite 

Last week, Mr. Goldwyn made the headlines again upon his arrival in 
New York, this time with a sweeping blast against exhibitors generally for 
what he termed their "indifference" to the problem of merchandising films. 

"It is nothing short of disgraceful", he declaimed, "the way pictures 
are being treated." And, somewhat in the extravagantly melodramatic tenor 
of his latest release, the producer moaned, "As I see it. all that is left for 
producers to do is stand bv the theatre, grab people by the collar and pull 
them in. The producers are doing everything else!" 

This latest bombast by Mr. Goldwyn has set him and some of his fellow r 
producer-distributors up like stationary ducks in a shooting gallery. They 
make a most tempting target. 

Contrary to Mi. Goldwyn's view of the situation, with the exception of 
the three leading film companies (and we might as well name them: 20th 
Century-Fox, M-G-M and Paramount ) , the other major distributors have been 
guilty of a dearth of aggressive showmanship that is nothing short of appalling. 

Struck bv apparent surprise when the war boom subsided and business 
started to taper off to a healthy normal, the men who make policy for most of 
the film companies were seized by a spasm of fear that brought on the kind 
of penny-wise, pound-foolish nonsense that makes depressions. Orders went 
out to the advertising departments to cut expenditures to the very marrow. 
Budgets for trade paper advertising — the first and most effective wav of sell- 
ing the exhibitor on new product - - were slashed to the point where the 
majority of new pictures went into exhibitor hands without any build-up 
whatsoever. The skimpy allotments have been conserved by the harrassed ad 
chiefs to sell only the few top releases. Field exploitation men - the dis- 
tributors' most direct contact with the ticket-buying public — were laid off 
wholesale. Appropriations for cooperative advertising with theatres were cut 
or entirely eliminated. 

What our industry has faced in the past coup!e vears, with the excep- 
tion of the three major companies noted above (and Republic, amomr the 
independents), has be°n a wave of short- i'fhted economies, if not downriqht 
negligence, on the part of the distributors in the field of showmanship. Thev 
have failed in their job of engendering sufficient enthusiasm among exhibitors 
for their products. They have passed the ball to the theatreman without in- 
spiring him with the spirit to carry it. without schooling him in the plays 
and without providing him with anv interference on the run. What right 
have they to expect decent teamwork! 

If Mr. Goldwyn had been as intent on finding a true and useful answer 
to the p'oh'em as he apnarentlv was in making the headlines when be arrived 
in New \ork. he should have taken a trip over to 444 West 56th Street. Th ov> . 
in the nffic~ • of 20th C°nturv-Fox. last \fyedn~'dav. Thursday and Friday. Ir- 
would have wi'n^ssed at first hand a practical demonstration of how one of 
the foremost distrihution organizations in this industry is going about the job 
of inspiring confidence in its product and in organizing the promotional talents 
of America's thealremen. 

During those three days, there were assembled there the advertising 
directors of manv of the country's theatre circuits, independent and affiliated, 
for 20th Century's Second Annual Showmanship Meeting. At the invitation 
of Fox's Charles Einfeld, these movie merchandising experts viewed forth- 
coming product and discussed, fully and freely, the various ways and means 
by which the pictures can best be exploited. In addition, lively round-tables 
were held on such general topics as institutional theatre advertising and 
schemes for promotion of child attendance. A wealth of ideas were explored, 
examined, sifted. It was big league merchandising planning in every sense, a 
scientific approach to one of the most vital aspects of our business. 

No one who sat in on those meetings could escape the belief that 20th 
Century-Fox, as well as every theatre represented bv the advertising personnel 
present, will rean rich benefits from the discussions and from the well-laid 
plans formulated there. Nor can there he am douht that the spade work 

done at 444 West 56th Street last week will also profit the smallest theatre in 
the smallest town in the nation. The results will seep through to the verj 
last run situation. 

This sort of approach. Mr. Goldwyn. plus a loosening of the producer- 
distributor purse strings lor greater exploitation of all pictures, is what is 
required, if we are to realize the lull hoxoffice potential of e\er\ film released. 
Better showmanship won't he accomplished 1 » x carping and cutting. 

MO \\ \\. 

Thelma Jordoi 
s Somethin 

To Talk Abou 



She's the central figure in 
a triangle spiced with murder. 

— says The Exhibitor 

And Stanwyck's full-blooded 
characterization is fascinating. 

— raves Hollywood Reporter 

In melodrama with the polish ex- 
pected in a Hal Wallis production. 

— comments Daily Variety 

To which 


proudly adds: 

She starts the year off in a blaze of excitement 
that grows with great, great, great product 


HEIRESS", "DEAR WIFE" and many, many, 
many more— to make exhibitors everywhere say: 

| "Today more than ever -If It's a Paramount 
I Picture, It's The Best Show in Town!" 


Volume 18, Number 3 
January 30, 1950 

\t*ii'.s and Opinion 


The rising torrent of motion picture 
industry organization and action for re- 
peal of the Federal admissions tax was 
swelling to flood proportions. Directed 
by a skillful engineer, Abram F. Myers, 
chairman of the taxation-legislation com- 
mittee of the Council of Motion Picture 
Organizations, the various factions in the 
industry were being channeled into the 
turbulent stream and the flood gates 
, were bulging with the pressure, about 
to be opened on the two legislative 
bodies of the U. S. Government, the 
Senate and the House of Representatives. 

Undaunted by two barriers which 
might have slowed the torrent in pre- 
vious years, production, distribution, ex- 
hibition, labor, fan magazines and trade 
. press brushed off the deterrents and 
heightened the battle to eliminate the 
207c Federal levy on theatre tickets, keep- 
ing a watchful eye, meanwhile, on city 
and state efforts to jump in as soon as 
the Federal tax is lifted. 
Defeats Tax Rider 

The first setback was a minor one and 
hardly indicative of the ultimate action 
on the tax. It came when the Senate 
defeated the controversial oleomargarine 
bill, 43 to 32, to which a rider was at- 
tached calling for a cut in excise taxes, 
I including the admissions tax, in a des- 
t perate effort to gain enough votes to 
push the oleo bill through. It was clear 
that a great number of Senators who 
j voted against the bill and its rider, would 
! support the excise tax cut as a separate 
I proposal. 

The second stumbling block was the 
: President's tax message to Congress, in 
| which he recommended several changes 
in the present tax laws, including repeal 
of a group of specifically-named excise 
' taxes, among which the Federal admis- 
sions duty was not listed. Those named 
included taxes on transportation, com- 
munications, furs, cosmetics, luggage 
and jewelry. Although some industry- 
I ites held this to mean that the President 
was opposed to rescinding the admissions 
levy, Myers took a different interpreta- 
< tion. 
Low Revenue Cited 

"The examples cited are not exclusive 
and they were mentioned because of the 
moderate amount of revenue involved 
and for no other reason," Myers said. 
"We have no quarrel with any other in- 
dustry seeking tax relief and will pro- 
voke none, but we insist that on the 
basis of merit, our claim for repeal of 
, the admissions tax should be at the top 
of the list and we shall present the facts 
, in support of that claim to the people 
and to the Congress. 

"Over four years have elapsed since 
the last shot was fired in World War II 
and the spectacle of the Government 
snatching pennies, nickels and dimes 
from the spending money of people of 
moderate means, and especially the chil- 
dren, is not calculated to enhance the 
Government's prestige at home or 

\ Campaign Material Distributed 

/ The COMPO tax committee, anticipat- 
1 ing little aid from the executive branch 

of the Government, had prepared some 
35,000 brochures, recommending proce- 
dure for a campaign on the local level, 
the same number of listings of names 
of members of the Ways and Means 
Committee and names and addresses of 
all Congressmen and Senators; 20,000 50- 
foot trailers to be used on theatre 
screens; 20,000 posters for theatre lob- 
bies; 40,000 box office stickers and 20,000 
individual petitions for signatures of 
moviegoers. Three days after the Presi- 
dent's address, this material was on its 
way to the 31 exchange centers, and a 
booklet outlining the campaign and 
stressing its importance was in the mail 
to every theatre in the country. 

"In this campaign," Myers declared, 
"our industry is on solid ground and 
cannot be justly criticized for carrying 
its case to the people, to the Congress 
and to other public officials. We should 
be bold, not timid, in the assertion of 
our fundamental rights." 

Fan Mags Mobilized 

The industry's fight against the admis- 
sions tax elicited the most impressive 
and united ever made against a legisla- 
tive measure. Offshoots of all the vari- 
ous divisions that comprise the movies 
pledged all-out efforts in the campaign. 
The fan magazines with 20,000,000 circu- 
lation were mobilized into the battle at 
a meeting called by Silas F. Seadler, ad- 
vertising manager for M-G-M. 

Labor, too, pledged its full strength as 
IATSE leaders sent word to all locals 
urging them to take up the matter im- 
mediately at their meetings and to work 
closely with the exhibitor, distributor 
and producer commiittees in their vari- 
ous areas. International President Rich- 
ard F. Walsh told his cohorts: "Relief 
lrom the tax will surely help theatre 
business and whatever helps the box 
office helps the men and women who 
work in the industry. Every I. A. mem- 
ber has a personal stake in this fight." 
Savings To Public 

The MPAA Advertising and Publicity 
Directors Committee, headed by Max E. 
Youngstein, voted to give every possible 
aid to COMPO's tax committee. Cam- 
paign copy in trade paper ads, copy di- 
rected at the public in national coopera- 
tive newspaper ads placed by the dis- 
tributors and other measures were re- 
commended for action by the MPAA 
group. Addressing the group, COMPO 
tax committee member Oscar A. Doob 
told the admen, "There is no job that 
your group could do to stimulate the 
motion picture business more than to 
help bring about repeal of the 20 per 
cent tax. If exhibitors could reduce their 
prices 20 per cent, it might be a shot- 
in-the-arm such as the movies haven't 
had since sound was introduced." 

That most exhibitors planned to do 
just that — pass the savings on to the 
public — was evident. Some exhibitor 
groups passed resolutions promising that 
this would be done by its members. 
Others just took it for granted that the 
tax would reduce the ticket price. The 
trailer implies the reduction with the 
statement, "You have just paid 209! 
more for your ticket because of the Fed- 
eral nuisance tax," virtually pledging the 
exhibitor to maintain his basic price and 
pass the tax reduction on to his patrons. 


Some 75 of exhibition's top admen con- 
gregated in New York last week as 
guests of 20th Century-Fox to discuss 
merchandising of films generally and 
20th-Fox pictures in particular. It was 
the second time in less than a year that 
the company had brought the theatre 
executives to New York for a genial 
three-day medley of business and pleas- 
ure and an exchange of ideas designed 
to increase theatre business. 

For three days, beginning last Wednes- 
day (25th), the showmen were plied with 
food — for thought as well as for the 
inner man — with movies and with 
speeches. They listened to top 20th- 
Fox executives, president Spyros Skou- 
ras; vice-president Al Lichtman; distribu- 
tion v. p. Andy W. Smith, and ad-public- 
ity v. p. Charles Einfeld voice high opti- 
mism about the industry's future. They 
heard guest speakers Abram F. Myers, 
head of COMPO'S tax committee; 
Louis Ruppel, editor of Collier's Maga- 
zine, and Bosley Crowther, motion picture 
editor of the New York Times. They saw 
five movies, including the Roxy premiere 
of "Twelve O'clock High", and attended 
the 8th Anniversary luncheon of the 8th 
Air Force at the Waldorf. 

But most of all, they talked about sell- 
ing their product, movies, in construc- 
tive and enlightening terms. 
"Don't Wait"— Einfeld 

Teeing off the meetings at the Fox 
home office was Einfeld's welcoming ad- 
dress, keynoted by the huge slogan be- 
hind the rostrum, "1950 Business Will Be 
Good For Those Who Make It Good." 
Warning against "fear talk and the psy- 
chology of waiting," Einfeld urged im- 
mediate action to "go out and get" the 
industry's share of the 107 billion dol- 
lars estimated for the public's 1950 "dis- 
cretionary spending." He stressed the 
changes in income, in educational stand- 
ards, in social status as opening new 
vistas for introducing motion pictures to 
non-moviegoers. "Let's look for new- 
ways to get people into the theatres," he 
declared. "Let's make up our minds that 
the money will be there — but it won't 
come to you as freely as it has in the 
past. You're going to have to fight for 
it, but it will be worth the fight because 
we must keep our industry as the most 
popular form of entertainment." 

Heaping praise on Einfeld for conceiv- 
ing the Showmanship meetings, president 
Skouras predicted that American motion 
pictures in 1950 will be "the best it has 
been for many, many years." He placed 
the responsibility for establishment of 
"that superior management and show- 
manship which will lead us back to a 
(Continued on Next Page) 

REVIEWS in this Issue 

The Black Hand 11 

Montana 11 

Dakota Lil II 

Biding High 12 

Backfire 12 

Pirates of Capri 12 

i\v*vs u mi Opinion 

(Continued from Preceding Page) 

level of security and prosperity" on the 
admen, adding it was up to them to see 
"these pictures will receive the necessary 
attention to draw the audience to see 
them. By doing this, you will contribute 
a great deal toward the salvation of 
your business, your jobs and the liveli- 
hood of your families and preserve an 
industry that deserves the public's good 
will and patronage." 
Research Committee 

In an effort to tap the "97 million po- 
tential customers which do not go to 
the movies regularly", sales head Smith 
advocated cieation of a research com- 
mittee "to determine what this vast non- 
movie going public expects from the 
screen. "To obtain that answer," he ad- 
ded, "it may be necessary for us to ring 
doorbells or perhaps there may be a 
ready-made consumer group which can 
help us find out what we must do to in- 
crease attendance." He suggested that 
a committee be named to study the prob- 
lem and assured the group that "we in 
distribution will do everything in our 


Theatremen were advised to seek 
the "found audience" rather than the 
"lost audience" by Bosley Crowther, 
motion picture critic of the New 
York Times, in an address last Fri- 
day (27th) at 20th-Fox's Second An- 
nual Showmanship Meeting. "We 
have been hearing a lot these past 
few years about the movies' 'lost 
audience,' " Crowther said. There is 
another audience that I am interest- 
ed in. I am interested in what I 
would like to call the 'found audi- 
ence' . . . This is the vast potent al 
audience which can be had for high 
quality films — and has recently 
been surprisingly discovered in 
many instances. 

power to assist you in getting the facts." 

Smith, calling" the 20th-Fox lineup for 
1950 ' the type of pictures that create 
invaluable word of mouth and bring into 
your theatres, not only regular movie- 
goers, but those who attend motion pic- 
tures infrequently," divulged that the 
company's top product has been spaced 
for release during important holidays, as 
well as strong product in between, to 
facilitate every showmanship effort. 
Lichtman "Bullish" 

"I am very bullish about our business," 
vice-president Lichtman told the show- 
men, despite increasing discrimination for 
good films among the American public. 

"But just having the best show, does not 
always get the most money," he added. 
It is the man who fervently believes that 
he has the best show and sells his con- 
vection to the public that wins out." 

Lichtman felt that "we in the business 
are not doing as good a job as I believe 
can be done and should be done," because 
even top attractions attract only a small 
percentage of the potential moviegoers. 
He advocated study of this situation at 
the me3ting. 
Myers on Tax Fight 

Guest speaker Myers concentrated on 
the industtry battle against the Federal 
admissions tax and made a plea for the 
assembled showmen to apply their talents 
in bringing the industry case before the 
public. He said it was imperative that 
the public and public officials be made to 
understand that the admission tax is not 
a levy on fabulous Hollywood salaries, 
that the part of the industry immediately 
affected by the tax — exhibition — consists 
principally of small business men, and 
that the film industry is the object of 
discriminatory taxation. 

"Seated in this room today is perhaps 
the largest and ablest group of 'idea men' 
ever assembled — at least, for our special 
purposes." Myers told the admen. "If 
each and every one of you, in your own 
way, will dedicate your talents and exert 
your influence in the cause of admission 
tax repeal, our chances of success will be 
greatly increased, if not made certain." 


Finis may be written to the industry 
anti-trust case, including a separate decree 
for the Little Three, by the end of Febru- 
ary. At least such was the outlook as the 
three-judge Statutory Court in New York 
Federal Court heard final argument in 
the ll :-'ear-old suit. 

From the tone of the Court's remarks 
and distributor-defendants' arguments, the 
final decree looked to shape up something 
like this: 

— The remaining Big Three defendants 
20th Century-Fox, Warner Bros., and 
M-G-M, will be subject to the same con- 
ditions prevailing for the two companies 
that exited the case via consent decree, 
RKO and Paramount. There was slim 
likelihood that the Court might grant the 
request for a five-year period in which to 
eltect divorcement, with a review at the 
end of three years to determine whether 
the monopolistic factors had been elimi- 
nated and whether total divorcement 
would be necessary. The Court's oft- 
heard phrase, "what's sauce for the goose 
is sauce for the gander," indicated that 

both the defendants' plea and the Gov- 
ernment's request for more drastic terms 
would be rejected. 
Showcase OK Seen 

—There was a good possibility that all 
the producer-distributors would be per- 
mitted to acquire showcases in principal 
cities, since this was not specifically de- 
nied in the case of RKO and Paramount, 
and consequently, was not expected to be 
included in a decree against the remaining 

— 20th-Fox and Warners would probably 
come to terms with the Government on a 
consent decree before the Court delivers 
its ruling. (In a message to stockholders, 
president Harry M. Warner revealed that 
the Justice Department would require that 
the company drop 60 of its 441 theatres in 
negotiations for a consent decree. He 
also disclosed that the company is asking 
for permission to own a limited number 
of "show-case" theatres after divorce- 
ment.) Loew's, however, remained stead- 
fast in its resolve to "stand or fall" on the 
Court decision, thus becoming the only 
major with affiliated theatres with legal 
grounds for appeal. 

—The Little Three, Columbia, Universal 
and United Artists, assured by the Court 
that it would grant them a separate judg- 
ment, will apparently be bound by the 
same trade practice previsions and various 
injunctions applying to the Big Five with- 
out any reference to t leatie acquisitions. 
Denies Product-Split ban 

Specifically, the Court formally granted 
RKO's motion for separation from the 
case as a consequence cf its consent 
agreement. It also denied the Govern- 
ment's request for a ban on splitting of 
product by distributor-ex ibitor defend- 

Defense attorneys were on their mettle 
against what they termec the Justice De- 
partment's attempts to ta»k on unneces- 
sary restrictions on their operation. They 
fought the Government proposal that 
plans for divorcement oe submitted with- 
in 90 days after a decree is entered and 
ultimate divorcement be co npleted within 
18 months. The Government, on the 
other hand, pointed to Paramount's feat 
in effecting total divorcement within nine 

The distributors also fought a Govern- 
ment request for a ban on future entrance 
into exhibition. Apparently they won 
their point, for presiding Judge Augustus 
N. Hand, when petitioned by D of J at- 
torney Philip Marcus for an injunction 
against the Big Three's entering exhibi- 
tion in the future, told Marcus: "I don't 
think you can do that." 
Separate Decree 

The Little Three's long fight for a sep- 
(Contmued on Page 10) 



Constructive, Enlightened Showmanship In The Grand Manner 







1%wifijful \AJomo#v A pped too f 













Ngbvs a it it Opinion 

Can tinned from Page 8 

arate decree was granted by Judge Hand, 
after assurance that it would not mean 
their "severance" from the case. The 
principal gain won by the Little Three in 
obtaining a separate decree limited to 
distribution was that evidence of viola- 
tions of anti-trust laws in the exhibition 
field, as represented by the majors' decree, 
could not be used against the non-theatre- 
owning companies in any future anti-trust 
suits which might be brought by exhibi- 
tors against them. 


Never one to pussyfoot around a topic, 
producer Samuel Goldwyn took off his 
neatly polished shoes, put on a pair of 
heavy cleats and aimed a swift boot at 
the "greedy" faces of exhibitors generally 
and Charles Skouras' Fox West Coast 
theatres in particular. 

Flaying theatremen for their "indiffer- 
ence" toward marketing the Alms they 
play, Goldwyn gritted: "The producers 
not only have to make the pictures in the 
face of an economy which includes a dis- 
rupted market abroad, but we also have 
to send out our own publicity and exploi- 
tation men and spend most of the money 
for advertising. The more we spend for 
advertising, the less the exhibitor spends. 
This situation has prevailed for some time 
now because the producers are suckers." 

He called for producers and distributors 
to "stand up like men and fight for their 
rights — insist that exhibitors pay for 
advertising and return to showmanship 
to help sell pictures." 

Divorcement, predicted Goldwyn, will 
cause a change in the producer-distribu- 
tors' willingness to pay ad costs. Hereto- 
fore, with their theatre revenue and rental 
receipts "all going into one pot," the com- 
panies have been not too concerned with 
who stands the ad expense. "Now that 
they stand alone," he declared, "they'll be 
more attentive to ad costs." He admitted 
the producer's responsibility in letting ex- 
hibitors" know about his product through 
trade paper ads. After that, the exhibitor 
should carry the ball." 

The exhibitor's indifference toward sell- 
ing his screen fare is "nothing short of 
disgraceful." All he does, is "open his 
doors," he claimed, while the producer 
does everything else. "As I see it, all that 
is left for producers to do is stand by the 
theatre, grab people by the collar and pull 
them in." 

His bitterest spleen was vented on the 
Fox West Coast chain. "I have nothing 
but contempt for their methods of treat- 
ing producers," Goldwyn raged. "We are 
not doing business with Fox West Coast 
because that circuit demands an option to 
do an^'thing they want with my pictures." 
He charged that "they sometimes pull a 
picture if they don't do enough business 
on candy and popcorn." He cited another 
instance where a producer's (not Gold- 
wyn) picture opened in a FWC theatre in 
the morning and was pulled the same af- 
ternoon because receipts during those few 
hours were too meager. 

The chain has some 100 theatres which 
are barred to independent producers be- 
cause "you either take their terms or you 
can't play your picture," he declared. This 
"monopolistic" stand, he added, is being 
probed by the Department of Justice in 
an effort to "correct the situation on the 
west coast. They had better do something 
about it or there won't be an independent 
producer left." 


"Lost enthusiasm", not a "lost audi- 
ence", is the problem facing the industry 
today, according to Nate J. Blumberg, 
president of Universal Pictures. "We 
have gotten away from those very things 
that not only brought this business into 
existence but those things that made it the 
great business that it is," the U 
topper declared. "When we speak about 
a 'lost audience', we actually are refer- 
ring to our own abandonment of hard 
work and the very life's blood of our 
business — enthusiasm." 

The statement was made at the com- 
pany's sales meeting in New York, first 
large-scale conclave held by U since the 
war, attended by the company's Eastern 
sales executives and followed bv a similar 
meeting in St. Louis for Southern and 
Western Sales personnel. 
"Better Pictures" 

Blumberg advocated that theatremen 
not only advertise and exploit films, but 
"should constantly point out that better 
pictures are being shown. The day has 


Wanted; Enthusiasm 

passed when exhibitors can afford to ask 
the old-time question about who is in the 
picture. Instead, exhibitors should do 
everything possible to sell subject mat- 
ter." He also urged theatremen to h?lp 
build up new personalities. "It is the 
public who finally makes stars," he said, 
"but it is the exhibitor who must get 
them before the public in the most pro- 
pitious manner." 

W. A. Scully, vice-president and gen- 
eral manager, speaking on the improve- 
ment of distributor-exhibitor relations, 
called for the members of U's sales staff 
to help foster better inter-Industry feel- 
ing. "Every member of Universal's sales 
organization must realize that he is a 
special envoy" for good-will with exhibit- 
ors, he said. 
Asks Exhibs Co-op 

Scully also pleaded with exhibitors to 
"play ball" in the matter of eliminating 
"obsolete" clearances. He applied this 
also to the growing drive-in business. 

"It is our plan," Scully declared, 
"wherever it is good business, to offer 
them an availability the same as subse- 
quent runs, and in situations where we 
do not believe it is going to affect first 
run revenue, we see no reason why these 

accounts should not be playing pictures 
earlier." He added his belief that drive- 
ins will not affect regular theatres, draw- 
ing patronage from that portion of the 
public which was formerly unable to 
attend the indoor houses for various rea- 

National ad-publicity director David A. 
Lipton, in a special session devoted to 
promotion plans on forthcoming product, 
declared that U-I will intensify its policy 
of key city World Premieres backed by 
territorial saturation. He also empha- 
sized that ad-publicity campaigns will 
continue to get under way as soon as the 
picture begins shooting "so that penetra- 
tion can succeed in giving a picture an 
identity prior to its local snowing." 

Point of sale advertising and personal 
appearances of stars, as well as "run-of- 
paper" advertising, will be utilized for 
all important pictures." 


The production-distribution profit pic- 
ture continued to grow brighter as one 
company revealed 1949 fiscal year in- 
creases over the previous 52 weeks, and 
two companies estimated a first quarter 
net for the new year topping the com- 
parable quarter in '49. Loew s, Inc., re- 
ported a net profit of $6,744,761 for the 
year ended August 31, 1949, almost one 
and one-half million over the correspond- 
ing period ended August 31, 1948, and a 
12-week net of $1,652,649, compared with 
the initial 12 weeks the year before ol 
$1,021,156. Warners consolidated net for 
the year ended August 31, 1949 was $10,- 
466,000, compared with a '48 net of $11,- 
837,000. Its first quarter earnings for 
the current fiscal year, however, were 
expected to exceed the $3,093,000 earned 
in the comparable 1948 period. 

Loew's 1949 net included $725,581 share 
of net undistributed income of partly 
owned corporations, and $525,855 share 
of previously undistributed earnings of 
a formerly partly owned corporation 
now wholly owned. There was also in- 
cluded $460,460 due to reduction of de- 
preciation on certain properties affecting 
prior years to conform to rates recently 
fixed by the Internal Revenue Bureau. 
These, coupled with a $7,000,000 reduc- 
tion in operating expenses, helped bring 
the 1949 figure over the '48 net despite 
a drop in gross receipts from $177,096,728 
in 1948 to $170,542,120 last year. 
12-Week Net Up 

For the 12 weeks ended Nov. 24, 1949, 
the report showed a net of $1,652,649, 
including $165,489 Loew's share of net 
undistributed income of partly owned 
corporations and $697,229 profit from the 
sale of capital assets. This compared 
with $1,021,156 in the corresponding 
period last year. Again, the gross fell 
slightly below the previous year's 12 
weeks from, $38,660,000 to $38,018,000. 

Lower operating costs and amortiza- 
tion charges helped convert Warners' 
gross receipts drop from the previous 
year into a year-end net increase over 
1948. Film rentals, theatre receipts and 
other income totaled $134,959,000 for the 
'49 fiscal year, compared with $139,937,000 
the preceding year. Assets, however, 
were increased more than $5,000,000 over 
1948 to $47,920,000, and the long term 
debt of the company was reduced during 
the year from $17,891,000 to $14,807,000. 

The company also reported sales of six 
theatre properties, unidentified, for $2,- 
581,000; eight non-theatre properties for 
$613,000, and Warners' part interest in 
four other theatres for $509,000. 



Rates • • • or better where exploited; t 


90 minutes 

Gene Kelly, Teresa Celli, J. Carrol Naish, 
Maro Lawrence, Frank Puglia, Barry Kel- 
ley, Mario Siletti, Carl Milletaire, Peter 
Brocco, Eleanora Mendelssohn, Grazia 
Narcisco, Maurice Samuels, Burk Symon, 
Directed by Richard Thorpe. 

Despite the extreme youth of the new 
year, it is safe to predict "The Black 
Hand" is destined to be one of the most 
exciting and suspenseful films of 1950. It 
portrays with almost incredible realism 
the teeming mass of impoverished hu- 
manity that made up New York's "Little 
Italy" at the turn of the century and, with 
breathtaking excitement, tells how a small 
group of fearful, but determined, Italian- 
Americans broke the reign of terror im- 
posed by the Black Hand Society. Two 
notable "firsts" are established with this 
film — Richard Thorpe's initial directorial 
stint in the field of melodrama and Gene 
Kelly's debut in a straight dramatic role 
under the M-G-M banner. After a string 
of successful comedies and musicals which 
had been the forte of both director and 
star, the effectiveness with which they 
register in a serious film is evidence once 
again that the Dore Schary experimental 
policy can uncover many lights formerly 

ops for action houses and Italian neighb< 

hidden under the bushel of conservative 
movie-making. From the star down 
through every member of the supporting 
cast, Thorpe has elicited superb perform- 
ances. He has paced the film's action like 
a well-trained jockey on a thoroughbred 
whose every capability is known to him, 
ending with a burst of furious speed in a 
bombing and chase through a burning 
building that brings the picture to a 
smashing climax. Despite the tawdry, 
albeit apt, title, there is nothing of cheap 
melodrama about "The Black Hand." It 
is intelligent, adult, authentic, beautifully 
played and punch-packed entertainment. 
With proper exploitation and good word- 
of-mouth, it can be bolstered to hit excel- 
lent grosses in all locations. It will regi- 
ster most strongly, of course, in action 
houses and is a natural for Italian neigh- 

Although Kelly etches a powerfi\ an.'l 
subtly-shaded portrayal of the young im- 
migrant who starts a personal crusade 
against the terrorists, it is J. Carrol Naish 
who walks off with the acting laurels, no 
mean feat in view of the overall excellence 
of the cast. Among the other standouts 
are Frank Puglia, Marc Lawrence, Elea- 
nora Mendelssohn and Teresa Celli. Paul 
C. Vogel's photography captures the flavor 
of the period and settings with such real- 
ism, one can almost smell the pushcart 


viands and the hanging cheeses. 

STORY: The young Gene Kelly takes 
his mother back to Italy after his father 
is killed in New York's Little Italy by the 
"Black Hand" society, a terroristic group 
of criminals who had escaped from Italy 
to come to America to prey on their coun- 
trymen here. Grown to manhood, Kelly 
returns for his vendetta, but is convinced 
by detective J. Carrol Naish and a girl, 
Teresa Celli, to organize the community 
against the Black Hand, rather than fight 
the highly organized gang. After a series 
of brutal and disappointing failures, Kelly 
and Naish finally get one of the terrorists 
deported on the basis of his criminal rec- 
ord in Italy. Kelly persuades Naish to 
go to Italy to examine records and bring 
back documentary p -oof of other criminals 
now in the U. S., making them subject to 
immediate deportation. Naish is killed in 
Italy, but not before depositing the evi- 
dence in a mailbox. Marc Lawrence, out- 
wardly a respected banker, but actually 
leader of the gang, forces Kelly to turn 
over the evidence to him by threatening 
torture of an innocent youngster, then 
prepares to kill Kelly. The latter, how- 
ever, manages to blow up the building in 
which the society is gathered, retrieve the 
criminal records and run down Lawrence 
in a thrilling chase, putting an end to 
Elack Hand terrorism. BARN. 


Rates • • + generally; better in action 

Warner Bros. 
76 minutes 

Errol Flynn, Alexis Smith, S. Z. Zakall, 
Douglas Kennedy, James Brown, Ian Mac- 
Donald, Charles Irwin, Paul E. Burns, 
Tudor Owen, Lester Mathews, Nacho Gal- 
indo, Lane Chandler, Monte Blue, Billy 
Vincent, Warren Jackson. 
Directed by Ray Enright. 

Although bolstered by the Errol Flynn 
name and Technicolor, this Warner offer- 
ing will get only fair public response. The 
chief weakness is in a trite story that 
would have served adequately for any 
two-bit galloper, but is hardly the type of 
material around which to wrap a glossy 
Technicolor production that goes out as 
an "outdoor special." All the fancy dress- 
ing does not disguise the fact that "Mon- 
tana" is just a re-hash of the range war 
script that has served countless westerns 


in the past. The result will be disappoint- 
ment in all situations, except those where 
westerns are the accepted fare. Boxoffice 
returns in better class theatres will be be- 
low par for a picture of these production 
proportions. The film benefits from a cer- 
tain amount of historical authenticity, 
and the Technicolor is first-rate. How- 
ever, director Ray Enright is responsible 
for some pretty slow stretches, even in a 
rather brief running time. 

Errol Flynn is handsome and athletic, 
Alexis Smith is buxom and flirtatious; 
and that's about all their roles call for. 
When these two get together to duet a 
rooty-toot range ditty (complete with yo- 
dels) the effect is slightly incongruous. 
"Cuddles" Zakall supplies some brief but 
effective comedy as a timorous travelling 
salesman and Douglas Kennedy does a 
scowling villain. 

STORY: Errol Flynn is an Australian 
who comes to Montana in 1879 to raise 
sheep. When he approaches the fringe 

of the cattle country, one of his men is 
killed by the belligerent ranchers. He 
enlists the aid and the wagon of S. Z. 
Zakall and goes into town posing as the 
peddler's assistant. The boys in the back 
room are suspicious of him and he soon 
learns that it means death to be a sheep- 
man. He works his way into the good 
graces of Alexis Smith, who owns the big- 
gest ranch thereabouts and makes an en- 
emy of Douglas Kennedy, who plans to 
annex both Miss Smith and her ranch. 
After a session of bronco-busting, Flynn 
wins the lease to a valley from Alexis. 
But when she and the other ranchers dis- 
cover that he is a sheepman, all fury 
breaks loose. He gets most of the settlers 
to side with him and then Kennedy tries 
to stampede his sheep. Flynn averts this 
with some fancy riding and shooting. 
Alexis takes a shot at him and wounds 
him, but immediately rushes to his arms, 
for, cattle or sheep, love is all that matters. 


Rates • • + for action houses; OK dua 

88 minutes 

George Montgomery, Marie Windsor, Rod 
Cameron, John Emery, Wallace Ford, 
Jack Lambert, Larry Johns, Marion Mar- 
tin, James Flavin, J. Farrell MacDonald. 
Directed by Lesley Selander. 

This lengthy, ofttold tale of a Secret 
Service agent's brush with a highly or- 
ganized band of outlaws is little more than 
a Cinecolor repetition of the countless 
western badmen films which have been 
so much grist for the action mills. While 
"Dakota Lil" is more than ordinarily am- 
bitious productionwise, and boasts a cou- 
ple fair names, the Fox release of this 
Alson production fails to rise above the 
level of the average cow country caper. 
Frequent love scenes involving the film's 
leading characters will detract some of 
its appeal for the anti-romantic Saturday 
matinee enthusiasts, but it has enough to 


er generally 

offer them otherwise. The peculiar tint 
created by the coloring process is not at 
all easy on the eyes. 

In the title role of the picture, Marie 
Windsor indicated, in addition to her thes- 
pian talents, that she possesses a knack 
for putting across a suggestive song. 
George Montgomery, as her nemesis and 
lover, is tough and apparently immortal 
as the Indian fighter assigned by the U. S. 
Secret Service to break up the gang of 
desperadoes. Capably portraying the 
heavy is Rod Cameron, with Wa'lace Ford 
and John Emery contributing competent 

STORY: Indian fighter George Mont- 
gomery, on a special mission for the U. S. 
Secret Service, sets out incognito to find 
Marie Windsor, a forger on the lam in 
Mexico with her piano-playing partner, 
John Emery. Montgomery intends to use 
Miss Windsor to help find the notorious 
"Hole-in-the-Wall" boys, who are in posses- 
sion of $100,000 in unsigned banknotes 

stolen in their latest escapade. Convinced 
that her forging talents can make the 
notes negotiable, she and Emery trick 
Montgomery and light out for Wyoming, 
where the band's leader, Rod Cameron, 
doubles as a saloon-gambling joint en- 
trepreneur. Miss Windsor makes a deal 
with him, telling him that Montgomery, 
who has followed her to Wyoming, is her 
partner. Cameron takes her out to the 
hideout to show her the banknotes, with 
Montgomery and his contact man, Wallace 
Ford, trailing them. They are discovered 
by the outlaws after Cameron and Miss 
Windsor leave, but Montgomery escapes 
after the ensuing gun battle in which Ford 
is wounded and captured. Cameron dis- 
covers Montgomery's identity after 
strangling Ford and figures that Miss 
Windsor is in cahoots with them. After 
killing Emery, Cameron attempts to add 
Miss Windsor to his list of victims, but is 
finally done in by a well-aimed knife 
thrown by Montgomery. TAYLOR. 

JANUARY 3 0 , 1 9 5 0 



Rates • • » 

112 minutes 

Ring Crosby, Coleen Gray, Charles Bick- 
ford, Frances Gifford, Raymond Walburn, 
William Demarest, Clarence Muse, James 
Gleason, Harry Davenport, Ward Bond, 
Frankie Darro, Margaret Hamilton, Doug- 
las Dumbrille, Charles Lane, Paul Harvey. 
Directed by Frank Capra. 

Frank Capra and Bing Crosby! Could 
anyone ask for more? Here's a wonder- 
ful laugh-and-songfest that will guarantee 
strong grosses in every type of theatre, 
everywhere. Paramount has combined 
the incomparable Capra touch with the 
charming, completely disarming Crosby 
personality and voice, and emerged with 
a solid piece of motion picture entertain- 
ment of which the industry may well be 
proud. For pure entertainment, "Riding 
High" just can't be beat. For almost two 
hours the Great Groaner cavorts and fro- 
lics, aided by some of the finest supporting 
players under contract at Paramount, 
through hilarious comedy, plus a few 
genuine heart-tugs, based on the delight- 
ful Mark Hellinger "Broadway Bill" yarn 
about racehorses and racetrack charac- 
ters. Bing sings catchy lyrics by those 
hit-tunesmiths, Johnny Burke and Jimmy 
Van Heusen. "Bake A Sunshine Cake," a 

breezy number bandied about by Crosby, 
Coleen Gray and Clarence Muse, is bound 
to climb to hit prominence as surely as 
"Riding High" will reach the heights as 
one of the best films of 1950. 

As the carefree racetrack "gypsy" who 
tosses away the lucrative opportunity of 
bossing a paper box factory and becoming 
the son-in-law of a tycoon, Crosby is de- 
lightful and Coleen Gray is his lovely 
young romantic vis-a-vis. Raymond Wal- 
burn and William Demarest are a good- 
natured pair of touts whose antics create 
countless rib-tickling situations. Charles 
Bickford is properly stiff and cold in the 
role of Miss Gray's tyrannical father. Clar- 
ence Muse is fine as Bing's horse-loving 
aide. Once again, and with a highly amus- 
ing effect, Capra has rung in several sur- 
prise "guest" performers: Maxie Baer, 
Gene Lockhart, Joe Frisco, Ishkibibble 
and, in an especially insane racetrack se- 
quence, Oliver Hardy. Unless there were 
mitigating circumstances, Director Capra 
missed a good bet by failing to insert 
Crosby's arch-nemesis, Bob Hope in any 
one of the many spots that were natural 
for him. 

STORY: Rather than give up his in- 
terest in horses, gypsy horse owner Bing 
Crosby walks out on a lucrative job as 
head of Charles Bickford's paper box fac- 

tory and marriage with daughter Frances I 
Gifford. Broke but happy, Crosby leaves! 
Higginsville with Broadway Bill, his Der- 1 
by hope, and trainer Clarence Muse. They J 
encounter some difficulty raising the $500 I 
entry fee for the big Derby, and Crosby ] 
enlists the aid of two down-and-out track 1 
touts, Raymond Walburn and William j 
Demarest, to scrape up the funds. When | 
entered in a preliminary race, Broadway 1 
Bill balks at the starting gate, sulking 
because his constant rooster companion, 1 
Skeeter, was left behind. Bickford's I 
youngest daughter, Coleen Gray, who I 
secretly adores Bing, brings Skeeter to 
Broadway Bill and stays on until after ] 
the Derby. The horse catches a severfij 
cold in his leaky quarters and the vet 1 
forbids any racing before Derby Day. To 
top off their troubles, the horse is attach- f 
ed for his feed bill and Bing is jailed for 
protesting too vigorously. For selfish 
reasons, Douglas Dumbrille, head of a j 
crooked syndicate, bails out Crosby, pro-H 
vides him with a jockey, Frankie Darro, i 
who is ordered to throw the race. Broad- i 
way Bill wins in spite of his rider, but 1 
falls dead of a heart attack just after ] 
crossing the finish line. Crosby realizes j 
he loves Coleen and, joined by the re- " 
generated Bickford, the "gypsies" take | 
off for the next race meet. TAYLOR. 


Rates • • as dualler; slightly more in acti 

Warner Bros. 
91 minutes 

Virginia Mayo, Gordon MacRae, Edmond 
O'Brien, Dane Clark, Viveca Lindfors, Ed 
Begley, Frances Robinson, Richard Rober, 
Sheila Stephens, Monte Blue. 
Directed by Vincent Sherman. 

The action in "Backfire" is about as 
sporadic as that from an old and well- 
used jalopy, and the suspense relatively 
the same — just how much longer can 
the old hack go on before it just stops 
cold. The ancient formula about the 
dauntless hero who outsleuths the police 
as he tries to find and clear a missing bud- 
dy of murder is told with a minimum of 
ingenuity, both in the script by Larry 
Marcus, Ivan Goff and Ben Roberts, and 
in usually-capable director Vincent Sher- 
man's treatment. About the best that can 
be said of either is that, considering the 
number of flashbacks, confusion intrudes 
only occasionally as the would-be detec- 
tive tries to put together the pieces of the 
plot. Any whodunit's worst crime is an 

on houses 

obvious "secret" killer, and the "surprise" 
denouement, in which the culprit's identity 
is disclosed, only underlines the triteness 
of the whole thing. The audience, to a 
child, will know his identity from the third 
reel. Gordon MacRae's bobby-sox fans, 
who will be drawn by the popular singer's 
starring appearance, will be disappointed 
to hear him utter not a note, and Virginia 
Mayo, limited to acting in a demure role 
with a full complement of attire, won't 
raise any temperatures among the males. 
Action houses may eke moderate grosses 
with proper exploitation. Elsewhere, it 
will be only a fair, and overlong, dualler. 

Of the supporting cast, Edmond O'Brien 
plays crisply and engagingly enough for 
a much better film. Not so Dane Clark, 
however, who acts as though he were a 
little ashamed of his shenanigans up to 
the last reel, when he is disclosed as the 
murderer, and then hams it up in the 
corniest mad scene this side of Shake- 
speare or Welles. Viveca Lindfors, as a 
woman of mystery, manages to look wor- 
ried, glamorous and unreal. 

STORY: Recuperating in a veterans' 

hospital, Gordon MacRae learns from a 
mysterious nocturnal visitor, Viveca Lind- 
fors, that his buddy, Edmond O'Brien, with 
whom he was to buy a ranch, has been 
seriously hurt. Upon his release from the 
hospital, he is picked up by police for 
questioning about O'Brien, who is accused 
of murdering a gambler and has disap- 
peared. With his nurse girl friend, Vir- 
ginia Mayo, MacRae sets about trying to 
clear his friend. In their search for clues 
and the missing O'Brien, they are aided 
by Dane Clark, another former Army 
buddy, who is now a mortician. MacRae 
locates Lindfors, girl friend of a big-time 
racketeer whose identity is known only to 
his immediate underlings and learns that 
she has fallen for O'Brien, and that the 
big shot has him incarcerated in his sum- 
mer home after breaking his back. After 
several murders, MacRae corners the kill- 
er, who turns out to be Clark, using the 
mortician job as a cover-up for his gam- 
bling activities, and with the aid of O'Bri- 
en, strapped in a cast up to his chin, drives 
the mad killer out to be shot dead by po-||j 
lice. BARN. 


Rates • • + as dualler for action spots; 

Film Classics 
94 minutes 

Louis Hayward, Rudolph Serato, Binnie 
Barnes, Mariella Lotti, Alan Curtis, Mik- 
hail Rasumny, Virginia Belmont, William 

Directed by Edgar Ulmer. 

This costume adventure abounds with 
all the swordplay and derring-do one ex- 
pects to find in a picture of its type, ex- 
cept that it has been done with a heavy 
hand. The avid action fans and young- 
sters should find its fabulous melodrama- 
tics to their taste; however, it offers little 
for better class audiences. Produced in 
Italy by Victor Pahlen, the natural back- 
grounds lend some tone of authenticity 

less elsewhere 

to the proceedings, although much of the 
photography of the Italian countryside is 
on the dark side. Edgar Ulmer's direction 
is ordinary. 

As the swashbuckling, fearless leader of 
the revolutionists, who poses as a palace 
fop by day, Louis Hayward has a role that 
he can play with his eyes shut. However, 
he keeps them open since the script re- 
quires him to indulge in plenty of fancy 
acrobatics and to kill many villains with 
his trusty sword. 

STORY: Posing as the masked Sirroco, 
pirate leader of Naples' patriots, Louis 
Hayward pirates the queen's ship carrying 
arms to Ralph Serato, minister of police 
whose eyes are fixed on the throne. Hear- 
ing of the attack, the panic-strickened 
queen (Binnie Barnes) prepares to flee 
the country lest she meet the same fate 

as her sister, Marie Antoinette, but Serato 
induces her to stay for the ball in honor of 
Mariella Lotti whom the Queen has picked 
for Hayward in marriage. Mariella is in- 
trigued and infatuated with the masked 
Hayward, unaware of his true identity. 
Serato pulls a surprise raid on the patriots 
camp, seizes many, and falsely declares 
his capture of Sirroco. Mariella shows 
her true love when she pleads with Hay- 
ward to save her bandit lover. Hayward, 
as Sirroco, releases his followers who at- 
tack the palace. In exchange for the 
Queen's safety, a civil rights program is 
set up for the people. The power crazed 
Serato meets his end after an extended; 
fencing lesson by Hayward. Miss Lotti 
gets Hayward, the people get their free- 
dom, and peace reigns again in Naples. 



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From key cities, small towns, North, 
East, West and South, come the same 

And even bigger things are expected from 
the soon-to-be-released "BORDERLINE," 
and that comedy of comedies, "FRANCIS." 


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Short Subjects 

By B A R N 

HTHE SHOCKING death of Alan Hale, 
one of the industry's foremost good- 
will ambassadors, gave Mistress Fate an 
opportunity to indulge in an ironic chuck- 
le. It was on just such a mission that 
the popular Warner actor contracted a 
bronchial disturbance which developed in- 
to pneumonia to complicate a liver ailment 
and bring about his untimely demise at 
57. The massive, six-foot two-inch Hale 
was part of a contingent of Warner play- 
ers who trouped to snow-covered, frost- 
bitten Helena, Montana, for the world pre- 
miere of WB's "Montana" on Jan. 10th. 
As was his wont on countless other such 
appearances, Hale was a tireless perform- 
er, acting as emcee, cutting up and gen- 
erally endearing himself and the Holly- 
wood he represented to the crowds gather- 
ed for the event, the first world premiere 
ever held in Montana. The "cold" he 
caught on that occasion was the beginning 
of the end. Eleven days later he was car- 
ried into Hollywood Hospital for treatment 
of a liver ailment complicated by pneu- 
monia. He died the next night with his 
wife Gretchen, his son, Alan, Jr., and 
daughter, Karen, at his side. For Hale, 
it was the end of almost four decades in 


"Montana" Dropped the Curtain 

the movies, starting from the early days 
of films at the old Biograph studios, and 
for the motion picture industry, the loss 
of one of its most exemplary and beloved 

•yilE TOM PAINE of the motion picture 
industry, P. J. "Pete" Wood, was ac- 
corded the recognition he has earned as 
a "brilliant bulletineer" over the past 25 
years by Allied States Association when 
the week of January 15th to 22nd was 
designated as "Pete Wood Week." Dur- 
ing that period, all regional units dedicat- 
ed their weekly releases to the Ohio fire- 
brand, with a special heading and a verbal 
.salute written by Allied leader A. F. My- 
ers, wizard of the well-turned phrase: 


Master of the Mimeograph 

"To PETE WOOD, Allied stalwart, mel- 
low philosopher, brilliant bulletineer and 
master of the mimeograph, this bulletin is 
affectionately dedicated. Like the 
pamphleteers of colonial days, he has ex- 
erted great influence by the written word 
and by precept and example has taught 
us that criticism can be constructive, that 
while truth may hurt, it cannot be smoth- 
ered or ignored, and that while satire may 
singe its victims, it should never sear. 
From him stems the great Allied bulletin 
service which is distinguished by the best 
talent in all the units and carries to the 
members accurate information on all im- 
portant developments together with inter- 
pretations and comment which reflect the 
independent exhibitors' interest and point 
of view. For the foregoing and many ad- 
ditional reasons, Allied members are tak- 
ing time out to salute PHILIP J. (PETE) 

To that, if we may, we would like to 
add our own small voice. 

r E'RE not the suspicious type, ordi- 
narily, but we just can't help wonder- 
ing whether there isn't some connection 
between an AP news item, some smart 
press agentry and 20th Century-Fox's 
"When Willie Comes Marching Home." 
The recent headlines garnered by Fox ac- 
tress Colleen Townsend with her an- 
nouncement that she was retiring from 
films to enter a theological college, plunk- 
ed the starlet squarely into the movie- 
going populace's eye. Miss Townsend co- 
stars with Dan Dailey in "When Willie 
Comes Marching Home." The picture will 
be launched next month with a series of 
premieres throughout Pennsylvania, be- 
ginning with the town of Punxsutawney, 
which is the name of the hero's home 
town in the film. From an AP news item, 
Jan. 21: "Colleen Townsend, 20-year-old 
movie actress, who plans to renounce the 
screen for the Scriptures, will deliver her 
first sermon Feb. 5 at Punxsutawney's 
First Presbyterian Church. Rev. Herman 
C. Humke, pastor, made the disclosure 
today. He said he invited Miss Town- 
send to speak from his pulpit after read- 
ing newspaper reports of her plans. Her 
sermon will be on 'Aims and Ambitions.' " 
So how coincidental can you get? 

TTHE BROTHERHOOD poster on this 
page will be seen by some 80 million 
moviegoers at least once during the per- 
iod from February 6 to February 26. The 
poster will be tacked on to the end title of 
everj' newsreel shown in theatres through- 
out the country, according to an announce- 
ment by Ted Gamble, National Chairman 
of the Brotherhood Week Committee. He 
credited Edmund Reek, chairman of the 
Newsreel Committee, for making possible 
the unprecedented newsreel tie-up. Just 
another facet of the industry's campaign 
to bring the ideals of Brotherhood Week 
into nearly every city, town and village 
in the U. S. by the men and women who 
own the nation's 18,000 theatres, and who 
produce and distribute the films which 
make up the nation's mass entertainment 
medium. The task of preparing and circu- 
lating campaign material is getting the 
expert treatment of Max Youngstein, na- 
tional chairman of the ad-publicity cam- 
paign committee, with each theatre re- 
ceiving a campaign kit. Some 45 produc- 
tion-distribution executives will work with 
distributor chairman A. W. Schwalberg 
and 59 theatre executives have agreed to 
work with exhibitor co-chairmen William 




AH I PROTESTANT, CATHOLIC, JEW. . . Forword in friendship < 

Week feb 1926 


By 80,000,000 Moviegoers 

L. Ainsworth and Gael Sullivan. The 
theatremen will be asked to get a mini- 
mum of 10 individual pledges and at least 
one dollar from each of these persons for 
the support of Brotherhood Week, which 
this year is seeking to raise $3,500,000 to 
finance its program to encourage and en- 
able "Protestants, Catholics and Jews to 
plan and work together as teammates, in 
mutual respect and understanding for the 
well-being of themselves, the community 
and the nation." 

tion pieces it has been our lot to re- 
ceive is the beautifully bound and boxed 
special presentation book for "Samson and 
Delilah." Some 500 of these are being 
sent throughout the nation to "public 
opinion molders" 






Advance Campaign Marks Hew Pattern 


Greatest Seductress Since Eve 

CECIL BLOUNT DEMILLE, admittedly master of the spectacle, delineator 
of the Bible story, glorifier of the body beautiful, creator of 68 epics, has 
finally done it — he has out-DeMilled DeMille. Chapters 13-16 from the Book 
of Judges had been waiting for the DeMille treatment for 14 years, ever since he 
first assigned writer Harold Lamb to do the screenplay in 1935. It was shelved 
when DeMille, having just completed "The Crusades", was dissuaded from 
doing another religious film. Two years ago, the producer decided this was it. 
He assigned Jesse L. Laskv, Jr., and Frederic M. Frank to rework the script and 
launched into his ultimate labor of love — "Samson and Delilah" 

The DeMille flair for pomp and pageantry, for sumptuous and scanty cos- 
tumes, for sweeping action and pyrexial 
passion could have received no better 
subject than this story of the strongest 
man in the world and the greatest se- 
ductress since Eve. He has indulged 
that flair to the hilt, enhanced it with 
inspired casting, poured millions into 
the production and has come up with 
his masterpiece, a Technicolor extrava- 
ganza which Paramount, its distributor, 
feels will outgross any previous picture 
ever made, including the fabulous 
"Cone With the Wind." 


Above, Samson vanquishes the Philistine giant; 
Lower loft, having drugged Samson, Delilah pre- 
pares to remove the source of his strength. 

Samsnn and Helilah 

Delilah Hedy Lamarr 

Samson Victor Mature 

The Saran of Gaza George Sanders 

Scmadar Angela Lansbury 

Ahtur Henry Wilcoxon 

Miriam Olive Dearing 

Hazelelpsnit Fay Holden 


Julia Faye, Rusty Tamblyn, William Farnum, Lane Chandler, 
Moroni Olsen. Francis J. McDonald, William Davis, John Mil- 
jan, Laura Elliot, Victor Varconi. 


Produced and directed by Cecil B. DeMille: Assistant direc'or. 
Edward Salven: Screenplay by Jesse L. Lasky, Jr. and Frederic 
M. Frank; From Original Treatments by Harold Lamb and 
Vladimir Jabotinsky; Based upon the history of Samson and 
Delilah in the Holy Bible. Judges 13-16; Music by Victor 
Young; Technicolor Color Direc;or, Natalie Kalmus; Director of 
Photography, George Barnes, A.S.C.; Director of Photographic 
Effects, Gordon Jennings; Costumes by Edith Head. Gile Steele. 
Dorothy Jeakins, Gwen Wakeling and Elois Jenssen. 

In the spectacular climactic desruct.on of 
/ tin temple, the b'inded Samson prays for 
•fix of his strength and braces himself 
the final effort to push down the pillars i 
bring death to the assembled Philistines. 



An advance selling campaign which may set 
a new pattern for big-scale promotion has been 
launched by Paramount ad-publicity chief Max 
E. Youngstein in coop ration with the producer. 
Keynote of the pre-release campaign was a tour 
of some 41 cities by actor Henry Wilcoxon. 
stait d last August and scheduled to continue 
into March. The reaction to the Wilcoxon tour, 
in the press, in public opinion groups, among 
exhibitors, has surpassed the company's fondest 
expectations. Wilcoxon, arm. d with research 
facts, photographs, color slides, and a thorough 
knowledge of all that went into the huge pro 
duclion. has been leaving a wak. • of excellent 
public relations and keen appreciation for his 
dignified approach and comprehensive pr senta- 
lion among the opinion molders. Exhibitors 
who have watched the Wilcoxon technicpie haVe 

Producer-director DeMilL* shows I it 1 >r Mature 
how to handle the ass jawbone (above) with 
which he is to kill a thousand men. Mature 
(below) shows how he has mas'.ered the tech- 

been overflowing with praise and many predict 
that this will be th • pre-selling method of the 
future for important pictures. Averaging two 
days per city and three groups per day. the good- 
will ambassador has address d women's groups, 
educat onal and rciligious organizations, fashion 
experts and retail outlets, press, radio and tele- 
vision. A sampling of th- reaction of these opin- 
ion leaders and the press has been prepared in 
booklet form. From this can be culled r. pro- 
ductions of letters and magazine and newspaper 
articles excellent for the exhibitor's use in sell- 
ing the picture to his local civic, educational and 
religious leaders, who can be a tremendous force 
in bringing the "lost audience," the older fac- 
tion and the non-moviegoi rs. into his theatre. 


Paramount 'has set a minimum of $1,000. (KM) 
for advertising "Samson and Delilah." It also 
estimates, that with the national ads through 
tie-ups. retail and manufacturer advertising, 
syndicated advertising, the total ad costs will 
approximate $3,500,000. 

Some of the tie-ups: "Samson zed" corn 
flakes from general foods, gowns of the Minoan 
period to be cr ated by leading Parisian de- 
signers to bs sold by 600 stores throughout the 
country; public, parochial and Sunday schools 
to get 16mm film strips from ear ier DeMille 
films plus a teaser for thi > new ones, jewelry 
inspired by designs from the picture, and a 
string of other tie-ups to attract the eye of both 
mass and individual tastes. 

In another oj the film's highlights, Samson bat- 
tles and kills a lion uith his bare hands. 


Easily the most impressive campaign manual 
we have ever seen is the nine-division accordion 
portfolio issued by Paramount for "Samson." 
For newspaper plants, production details and 
publicity blurbs take up three sections. Then 
comes newspaper ads, printed on one side of 
the sheet, followed by a set of some of the 
most exeking and C clinically perfect stills ever 
made. For special art, a series of 11 x 14 stills 
featuring the stars and highlights, excellent for 
blow-ups; then sp cial promotion features, in- 
cluding a ona-sheet of the Parents Magazine 
award for the film, a full color program folder 
and the beautifully lithograph- d souvenir pro- 
gram for sale in the lobby; radio spots and a 
Hollywood chatter series; and a group of mats 
culled from the best scenes in the film. It's 
the sort of thing that makes you WANT to go 
all-out on exploitation. 

(ii// />' jk y l/i/Zij l/n.if, 
- CECIL B DeMILLE S MASTERPIECE 4hf «ft •« « am* «• 

Samson Delilah ^"V* 0 " 

M „b,nxnwcouM .„„ ^ "~°|J6lll0n. 


At right, the variety of newspaper ads illus- 
trat s how the copy can be angled at an} audi- 
ence, using a spectacular approach. circu— type, 
or dignified, muted copy. Above arc examples 
of two types of t asers. A third type Is not 
pictured. There are enough of each for an 
advance leaser campaign we ks ahead of open- 


An exceptionally high rating was afford- 
ed Warner's deeply moving film version of 
the Broadway stage success, "The Hasty 
Heart," by the New York newspaper cri- 
tics. Admitting that it is a "tear-jerker," 
and overlooking its complete dependence 
upon dialogue, rather than action, for ef- 
fect, they unanimously acclaimed the 
heartwarming excellence of the perform- 
ances, script and direction. Although they 
generally failed to mention it as such, the 
reviews indicate that it is a definite candi- 
date lor the best motion picture of the 

Seymour Peck, in the Sunday Compass, 
is ail out for the film as "a movie that 
reaches the heart." It is "not a preachy, 
ponderous or morbid movie," he writes, 
but is "warm, touching and gently humor- 
ous" speaking "of the love of man for 

In the World-Telegram and Sun, Alton 
Cook describes it as a "deeply moving 
film . . . no mere tear jerker in the usual 
derisive sense of the word." He concludes, 
without qualifications, that it may be 
noted as "the first real candidate for the 
(year's) ten-best list." 

"A picture of rampant sentiment, a tear- 
jerker from way back," says the Post's 
Archer Winsten, hastily adding that we 
should "not confuse it with lesser films," 
this one being "honorable in its methods, 
humanly understanding in its portrayals, 
and astringently tart in its hero." 

Rose Pelswick, in the Journal American, 
is all praise for a film that "is moving 
without being lugubrious . . . beautifully 
written and acted throughout." Director 
Vincent Sherman is credited with giving 
"the impression of constant movement" 
even though the script is "dependent al- 
most entirely on dialogue." 

Pointing out the handicap of depending 
"to a great extent upon dialogue," Otis 
Guernsey, in the Herald Tribune, feels it 
is nevertheless "so supremely well written, 
acted and directed that it mounts ... to 
the level of a steadily engrossing pageant 
of human emotions and relations." 

The Times' Bosley Crowther also rec- 
ognizes the limitations of the film, but 
follows suit, lauding the "quietly divert- 
ing . . . winning and poignant film" that 
'^has a richness and vitality of characteri- 
zation which give it deep appeal." 



"Story gives them (the cast) little 
chance for acting, but they make a good 
try." — CREELMAN, N. Y. SUN. 

"Correctly billed as a crime-thriller . . . 
Hauled higher than its natural level by 
director William Castle . . . Has a certain 
quality that sets it apart from its shop- 
worn fellows . . . Isn't enough to inspire 
lyrical praise or start a critic baying the 
hot scent of a 'sleeper.' But it is suffi- 
cient to constitute a pleasingly taut and 
terse minor film." — WINSTEN, N. Y. 

"Rates high ... in its own class of 
small, compact murder mysteries . . . Tale 
is told rapidly, clearly and in photographic 
terms ... A smooth, uncluttered dish of 
melodrama . . . Neither pretentious nor 
gaudy, but like most of Castle's work it 
is neat." — GUERNSEY, N. Y. HERALD 

"Moderate melodramatic suspense . . . 
Never rises above the mediocre class of a 
film that is plainly intended to take time 
on a vaudeville bill." B. C, N. Y. 



What the Newspaper Critics Say About New Films 



"Just about hits the low-water mark of 
interest, intelligence and urgency . . . 
Frankly, we thought that films like this 
one had been put on the dud-list years 
ago." — B. C, N. Y. TIMES. 

"Preposterous film drama about love 
and marriage ... As shallow and trans- 
parent as Central Park Lake ... A glossy 
collection of childish poses, about as au- 
thentic as a weight machine fortune." - 

"Picture as a whole is greatly remindful 
of soap opry ... If you go for theatrical 
melodrama in fancy getup, this may be 
your dish." — THIRER, N. Y. POST. 

"Gaudy but dull . . . The whole business 
is elaborate, luxuriously padded; but its 
emotional pull is slight." — CREELMAN, 
N. Y. SUN. 

"Giossily mounted . . . story spun out 
against Manhattan settings." - PELS- 

"Ranks among the flossiest pictures ev- 
er made . . . Characters meander so aim- 
lessly through the comp'ex plot, it is diffi- 
cult to keep one's attention on their vary- 
ing fortunes . . . Even the directorial re- 
sources of Mervyn LeRoy have not been 
able to shake off the picture's doldrums." 



"Attempting to blend a religious theme 
with conventional crime melodrama . . . 
resolves itself into a search." — PELS- 

"Title . . . promises a picture about 
traffic or brothels . . . but has nothing to 
do with either of these or with its title. 
It is standard George Raft, faithfully loy- 
al to the pattern his patrons have been 
getting for years . . . Quite a few people 
get killed and, my own guess goes, a 
much larger number will be bored." — 

"There is one novel twist in the other- 
wise typical George Raft murder yarn . . . 
Mr. Raft does not exterminate all the bad 
guys singlehanded . . . Production is gen- 
erally poor, banal and tedious — unworthy 
of a religious ideal." — S. P., N. Y. COM- 

"(Members of the cast) try real hard 
to keep things moving. Truth to say, 
however, moving is not the word for most 
of their routine melodramaties." — A. W., 

"Film about vengeance . . . is a hodge- 
podge of gun play and melodramaties de- 
riving from numerous gangster films . . . 
Let us hopefully repeat that after this 
unhappy renaissance the gangster film, or 
anything resembling it, will remain in the 
files." — PIHODNA, N. Y. HERALD TRI- 

"Not the sort of entertainment that 
normally inspires close attention . . . The 
title . . . can serve as honest appraisal 
of the picture. Don't go unless you are 
prepared to enjoy George Raft at his 
dandy dullest, and the rest of the cast 
not up to that." — A. W., N. Y. POST. 



"Simply a picture that did not turn out 
as expected . . . Comes nowhere close to 
l he standards obviously planned for it . . . 
Main flaw is a lack of the tension promised 
in the title ... A murder story that pro- 

ceeds at a sedate pace to a very obvious 
conclusion." COOK, N. Y. WORLD 


"Ordinary murder melodrama that im-, 
proves its normal rating a little on the 
basis of better-than-average casting, writ- 
ing and production. Director John Berry 
has almost turned the 'sleeper' trick." — 

"Uncertain cat-and-mouse drama with.! 
a competent cast ... A go-round of oppos- 
ing designs which include murder, dual 
identity and betrayal . . . Has its moments, 
but it is not as strong as it should be." — 

"Makes a most grueling assault, in a 
long and exhausting exhibition, upon the 
audience's breaking point ... A much bet- 
ter title for this picture would be 'Pa- 
tience,' presuming such a thing." — 



"Sleek melodrama made up in equal 
parts of romance and courtroom compli- 
cations . . . Director Robert Siodmak 
hand'es the courtroom episodes with a 
good measure of suspense." — PELS- 

"For all of its production polish, adult 
dia'ogue and intelligent acting, a strangely 
halting and sometimes confusing work . . , 
Pace of this romantic melodrama is gen 
erally slow . . . Takes an awfully long 
time to point out that the wages of sin are 
pretty high." — A.W., N. Y. TIMES. 

"Wordy, contrived and exhausting melo 
drama . . . Just another she-done-him 
wrong saga in which the musical back 
ground draws more attention than the 
action and dialogue." — BARSTOW, N. Y 

"After a very mushy start . . . settle: 
down to workmanlike murder mystery . . 
A flimsy affair." — COOK, N. Y. WORLI 

"Seems to be a case where what start! 
as mystery and character-probing soon be 
comes mere confusion . . . The good stuf 
(direction and performances) is mere dec 
oration on a rambling, pointless and rathe t 
incredible plot." — WINSTEN, N. YV 



"Obvious attempt to pull the wool ove ( 
the eyes of an unsuspecting audience wit 
a thoroughly fabricated tale . . . Action i 
so slow and so burdened with standar 
horrorisms that it wouldn't be grippin 
even if it did make sense . . . You'd bette 
see this one in a state of trance." - 

"Brand of drama in which everyone 
rich, handsome and romantically tormen 
ed. Either you like that type of story ( 
you have a bad time." — N. Y. WORL 

"You may be able to find enjoyment i 
it if you don't try to take it too seriously 

"Only melodramatic angle missing is 
villain twirling a big black mustache . I 
Plot has who-done-it as well as psychiatr 
overtones." — PELSWICK, N. Y. JOUi 

"Will produce a depression in an auc 
ence of even moderate discrimination . 
Hollow and empty enough of creati 1 
skill to qualify splendidly as a cavity . J 
Only slightly speedier than a funeral cc 
tege." — PECK, N. Y. COMPASS. 



Behind the Scenes of Film Production 



'"THERE'S A NEW, if not unexpected, 
* note in the news from Columbia, 
where a new slate of "B" pictures is being 
worked out for 1950 production. Accord- 
ing to insiders on the Gower Street lot, 
Harry Cohn was so pleased with the re- 
ception of "Mary Ryan, Detective," that 
he's ordered the go-ahead on a whole ser- 
; ies, all to be bracketed in the lower bud- 
gets. Furthermore, a sizeable group of 
additional "quickies" is being lined up to 
hypo the quantity (not the quality) of 
the company's output. This, after all the 
talk of recent months about Columbia 
aiming only for top-grade product. Ho, 

Louis de Rochemont has signed a 3-year 
pact under the terms of which he will pro- 
'duce his feature-length features exclusive- 
ly for Columbia release. The first picture 
he has singled out to produce here is 
1 "Dormitory Seven," a story told against 
the background of a federal penitentiary. 
As was the case with his Film Classics 
■release of last year," Lost Boundaries," 
many of his pictures will be taken from 
the pages of Reader's Digest. 
Rooney Signed 

1 Another new deal of interest here is the 
one just signed with Mickey Rooney, 
whereby he will star and co-produce a top- 
budget feature, "Freddie, the Great," be- 
ginning in early Spring. He is also re- 
ported to be set for a co-producer deal 
with Harry Joe Brown on a still unselected 
property to start here in September. The 
latter will be made under the Actors-Pro- 
ducers aegis and, like the other deal, will 
draw a top budget. 



TF THERE were any hopes that the 
new year would bring a sudden burst 
jof activity here, as a result of the an- 
nouncement that the long hiatus was 
over the bubble should be broken by 
'now. As of the middle of the month, 
only two features were shooting for E-L 
Release — and both of these were being 
filmed away from the lot. "Deadfall," 
the LeMay-Templeton Production, star- 
ring John Barrymore, Jr., Chill Wills and 
Lois Butler, is shooting on location in 
Texas, and the Sloane-Rathvon produc- 
tion, "The Sun Sets at Dawn" (Sally Parr- 
Philip Shawn) is before the cameras at 
General Service studios. 
I What's left of the company's Holly- 
wood staff is taking heart over distribu- 
tion chief William J. Heineman's an- 
nouncement last week that "The Jackie 
Robinson Story" is slated to go before 
(the cameras. It will be produced by Dia- 
mond Corporation, with Mort Briskin as 
(executive producer. The screenplay is 
jby Louis Pollick and Lawrence Taylor. 
Members of the Brooklyn Dodgers and 
other major leaguers will appear in the 

Meantime, the old E-L execs are be- 


Lessons of '49 

Will Hollywood profit by the 
lessons it learned in 1949? 

With a new year at hand, it 
seems an appropriate time to take 
stock of all that has transpired in 
the past twelve months, with an 
eye toward building for a happier 
and more prosperous 1950 for the 
entire motion picture industry. 

One lesson stands out in parti- 
cular, and that is: the United States 
can and does provide enough thea- 
ter-goers to support good motion 
pictures. Perhaps the biggest blow 
of the year to the movie - makers 
was the severe set-back suffered in 
the foreign markets. Hollywood 
had counted heavily on getting its 
European business back on a pre- 
war footing. Instead, it encounter- 
ed nothing but opposition — both 
in England and on the continent. 
Yet, in spite of a lot of haranguing 
and crepe-hanging, every major 
studio in town wound up the year 
operating in the black. In other 
words, 1949 should have taught 
Hollywood that it is no longer 
necessary to make pictures framed 
to accumulate much of their finan- returns from abroad. It's the 
tastes of the Smiths, the Browns 
and the Joneses — and all the other 
good old American families — that 
have to be played up to in 1950. 

Another important lesson that 
has been driven home in recent 
months, is the folly of trying to 
save money by shooting pictures on 
foreign locations. What Hollywood 
had hoped would be one of its big- 
gest economy measures of the year, 
turned out to be one of its most 
costly mistakes. Not only did it 
cost them more in dollars and 
cents, but the product suffered 
from the absence of the trained 
Hollywood technicians, who are 
without peers in their field. 

In short, Hollywood should have 
learned that it's the American pub- 
lic, the American film-workers and 
the American tastes that must be 
given primary consideration in 
1950. That's the solution to a hap- 
pier New Year for all of us. JAY 

ginning to find their way into independ- 
ent production. Former campany prexy, 
Arthur Krim, has just paid a hasty visit 
to Hollywood on a very hush-hush mis- 
sion to line up a foreign production 
crew to make pictures in Europe. This 
department learns that he has already 
retained James Vaughan, the former E-L 
production head, to explore technical fa- 
cilities for him abroad. 
Get "Hansel and Gretel" 

E-L will handle world-wide distribution 
of "Hansel and Gretel," to be produced 
in the American zone of Germany, start- 
ing January 30. The film, based on 
Humperdinck's famous opera, will be 
made in English, German and Italian, 
and will be produced and directed by 
Fredrich Feher. Despite the fact that 
the film will be limited largely to the 
art houses, most folks in Hollywood are 
of the opinion that it should do much to 
swell the Eagle-Lion hoppers. 




[JANUARY 3 0, 1 9 5 0 

[T SHOULD be good news to all that 
Metro's future product will be more 
brightly studded with stars than ever be- 

This department learns that Dore 
Schary is adopting one of the most prac- 
tical policies yet devised in Hollywood to 
pare down overhead and operating costs 
and yet hypo returns at the boxoffice. It's 
as simple as this: all of the stars and 
supporting players on the studio's con- 
tract list are going to have to make more 
pictures to earn their salaries. Whereas 
in the past, top players have averaged 
only one to one-and-a-half pictures per 
year Schary has decreed that henceforth 
thev will make a minimum of two feat- 
ures per annum. Lesser talent will find 
their working schedules upped accord- 

As the first step toward that goal, 
Schary has ordered more scripts to be 
prepared, so that there will always be a 
large stockpile of completed screenplays 
awaiting each star. At the present time 
36 writers are engaged in turning out 
story properties, with additional scriven- 
ers due to be added to the payroll mo- 

Adding Name Power 

Schary points out that, in the past, 
salaries of top money stars have had to 
be written off by the studio during long 
periods of inactivity. Not only will this 
new policy absorb that waste, but it will 
provide greater name power for the 
companv's future product. In other 
words it now seems apparent that the 
days of all-star casts are on the way 
back, which gives reason to hope that 
good days at the boxoffice may follow m 
their wake. 

With this new policy going into effect, 
it's not surprising to note that Metro s 
production will hit a new all-time peak, 
next month, with 11 pictures at work 
simultaneously. Included in the line-up 
will be five films which started during 
January, they are: two musicals which 
are shooting and will carry through 
February; two films which have been on 
location abroad that will be brought 
home for final shooting, and two which 
are scheduled for early February starts. 

To Use Ansco Color 

Another milestone will be attained at 
about the same time, when the company 
starts actual production with Ansco 
Color multi-layer film. As reported here 
here several months ago, the company 
has been secretly experimenting with the 
new color process for almost three 
years. But it was only in recent months 
that technicians developed it to a point 
of perfection. By making and proces- 
sing its own color product, MGM will be 
able to cut down overhead and. at the 
same time, avoid costly delays at the 
laboratories. Under this system, no spe- 
cial cameras are required, rushes may be 
seen the dav after filming, and the num- 
ber of tinted features can be greatly ex- 
panded. First releases will be shorts, to 
be followed by full-length features prob- 
ably sometime late in the year. 





EXHIBITORS would do well to give 
some serious thought to some of the 
ideas advanced by Prexy Steve Broidy 
at a press conference the other day, 
shortly before his departure for New 
York to confer with company sales repre- 
sentatives. Broidy did some pretty 
straight talking on the subject of s cond 
features and the treatment which exhibit- 
ors have been according them. 

Briefly, Broidy proposes to double the 
picture budgets on his future product, 
provided (and that's the important hinge) 
exhibitors will give his company what he 
calls a "fair deal" on rentals. He main- 
tains, and rightly so, that a hotter grade 
of second feature will have a marked 
effect on the boxofhce, and that if exhi- 
bitors will start differentiating between 
them as they do with their main features, 
the quality of the B's can ultimately be 
improved. He charges that most exhi- 
bitors are placing the emphasis on how 
cheaply they can get a second feature, 
rather than on the quality of the pro- 
duct, with the result that the over-all 
quality of the B's has vastly deterior- 
ated. And it's to correct this situation 
that he is launching his campaign to 
raise the rentals. 
Value of Second Feature 

"In the past," he said, "the important 
rental money has always gone to the top 
feature, and the second feature was rele- 
gated to a definite price bracket, regard- 
less of its quality. Yet it's been proved 
time and again that a good sec- 
ond feature can and does save bills, when 
booked with 'Nervous A's' ". 

Broidy estimates that between 65 and 
70 percent of the present playtime is de- 
voted to billing two so-called A's, which 
limits the market of the B producer to 
30 to 35 percent of the total screentime. 
As a result, some of the majors have 
discontinued the production of the low- 
budgeters as an economically unsound 
proposition. The result has been a 
shortage of pictures, which has necessi- 
tated the harmful trend toward too- 
abundant re-issues. "We simply can't 
meet the demand for quality B's at the 
prices we receive for them. 
Would Double Budgets 

"We're convinced that we can double 
the budget on our pictures, which now 
average $100,000. without coming any- 
where near doubling the price of the ex- 
hibitors. At any rate, they'll be much 
cheaper and better than some of the 
nervous A's they're screening now." 

In discussing the inroads being cut into 
movie nrofits by the new television me- 
dium, Broidy concluded: "TV is hurting 
us, no matter what else you hear. So, 
my idea is to increase the quality of 
the second features, in order to make 
the kind of a well-rounded bill that will 
pull audiences back into the theaters. If 
exhibitors will pay a premium for the 
better B's, as he does for his first feat- 
ures, we will ultimately be making bet- 
ter pictures and that will be to the ad- 
vantage of everybody," he concluded. 



DY THE TIME this reaches print, Para- 
mount will have renewed one of its 
most lucrative contracts, with the re- 
signing of William H. Pine and William 
C. Thomas to another two year deal. The 
two Bills will turn out three pictures 
each year, starting with "High Venture," 
a top-budgeted Technicolor production 
set to go before the cameras on June 1. 
They still have one more picture due 
under the current two-year deal, and it 
will also be shot in color, starting around 
March 1. 

Prob:bly no independent producing 
unit in town has been able to parlay its 
earnings more effectively than Pine and 
Thomas. Starting as an obsecure outfit 
turning out only low-budgeters, they have 
yearly upped their budgets, by re-invest- 
ing the profits, until they are now well 
toward the head of the class in that field 
of picture-making. Furthermore, they 
seem to have found the cue to the pub- 
lic's likes and dislikes, thereby increas- 
ing the take on each successive under- 

Heavy Slate In Spring 

Although production on the Paramount 
lot came to a virtual stand-still in mid- 
January, activity is expected to hit peak 
proportions by the early Spring months, 
in an effort to meet the requirements im- 
posed on the company as a result of 
divorcement of its theatre chain. 

Judging from the reaction of sneak 
preview audiences to the new Bing 
Crosby starrer, "Mr. Music," the coffers 
should be well filled for future produc- 
tion. After a long run of mediocre 
Crosby pictures (although we hear "Rid- 
ing High" is good, too), it looks like the 
company has again rung the bell with 
its most precious property. 

In order to get a Betty Hutton starrer 
ready to follow-up "Annie Get Your 
Gun," which she made on loan-out to 
Metro, the order has been sent down from 
the front office to exercise full haste in 
preparting the Mabel Normand story for 
February 13 starting date. George 
Marshall has been re-called to the studio 
on his non-exclusive multiple picture pact 
to direct the comedy. 



TN LINE with Republic's new prestige, 
A Prexy Herbert Yates has re-scheduled 
releases on the current backlog of top- 
budgeted, productions, so that one better 
class feature will go out each month for 
the next six months. The list includes: 
"Singing Guns," in Trucolor, and intro- 
ducing Vaughn Monroe, with Ella Raines 
and Walter Brennan in the co-starring 
roles, set for release on February 28; 
Fidelity Pictures production of "House 
by the River" (Louis Hay ward - Jane 
Wyatt-Lee Bowman), March 25; "Rock 
Island Trail," filmed in Trucolor, star- 
ring Forrest Tucker, Adele Mara, Bruce 
Cabot and Adrian Booth, April 24; "The 
Savage Horde" (William Elliott-Adrian 
Booth), May 22; "The Avengers," filmed 
in Argentina by associate producer-di- 

rector John H. Auer, and starring John 
Carroll and Adele Mara, June 26; and 
the Elliott-McGowan production, Sleep 
All Winter" (William Elliott-Marie Wind- 
sor-Walter Brennan), July 31. 
$1,000,000 Profit 

Before Yates left for New York around 
the middle of the month, for the annual 
stockholder's meeting, this department 
learned that he would report his com- 
pany's earnings for the year to be in 
excess of $1,000,000, over and above ex- 
penses. Small wonder then that he is 
in a position to offer John Ford a sal- 
ary of $150,000 on the new three-picture 
deal, reported last issue. It is under- 
stood that Ford will also share in the 
grosses of the pictures on a sliding scale 
of percentages. Republic will take over 
the entire expenses of the Ford produc- 
tion staff. 

The studio, this month, exercised its 
option on the services of associate pro- 
ducer-director Joseph Kane for another 
year. This marks the beginning of the 
15th year of Kane with the company. 



TT WILL BE surprising if Howard 
Hughes doesn't get some serious com- 
plaints from: some of the company's stock- 
holders as a result of the vast amount 
of money he's been pouring down the 
drain to pay off stars for NOT appear- 
ing in pictures for which they were con- 
tracted. The pay-off approached the seven 
figure mark with the cancellation of 
Merle Oberon's two-picture deal at a fig- 
ure rumored to be between $100,000 and 
$125,000. Others who have collected 
equally astounding sums for not making 
pictures are Dorothy Lamour and Ann 
Sheridan. Hughes has always tossed his 
own money around in an amazing way in 
making pictures, but, as the head of a 
big company, he may find he has to 
make an accounting for some of his ac- 

As predicted exclusively here in a re- 
cent issue, Sid Rogell has been named 
executive producer of RKO, by bossman 
Howard Hughes, replacing the former 
two-man board of Rogell and Bicknell 
Lockhart, who have jointly been in 
charge of plant operations. Under the 
new set-up, Rogell is second in author- 
ity only to Hughes. 

This appointment clears up the long 
scrambled executive department of the 
company, which has been in a nebulous 
state— to say the least— since Joe Nolan 
pulled stakes many months ago. And 
it should be all to the good, for this out- 
fit has been foundering badly in recent 

On the heels ot this announcement, 
Hughes and Rogell have set about put- 
ting their production slate in order, with 
a view toward accelerating the produc- 
tion tempo to include a minimum of 35 
features on the 1950-51 slate. This in- 
cludes not only the company's own pro- 
duct, but also that of the independent 
companies with which it has made re- 
leasing deals. 
Seeking New Producers 

At the same time, Hughes launched a 
new campaign to corral top flight pro- 
ducers for further independent deals. 
First of these was with Edmund Grain- 




Iger, erstwhile Republic white-haired boy, 
who inked a two-year ticket to make five 
inde productions for the Hughes organ- 
ization. It is understood that RKO will 
finance Grainger 100 per cent, largely 
on the strength of his job on "Sands 
of Iwo Jima" at Republic. Grainger will 
headquarter on the RKO-Pathe lot, oper- 
ating as a completely independent unit, 
with all production personnel and equip- 
ment of the studio to be placed at his 
disposal. Pictures will be budgeted at 
from $1,500,000 to $2,000,000, with Grain- 
ger having full rights to select his casts 
from the RKO talent roster. 



JANUARY might well be described as 
the lull before the storm, insofar as 
production is concerned around the Fox 
lot. Although only two features were 
shooting at mid-month, no less than 30 
writers were at work on 25 scripts, and 
new and important story buys were com- 
ing at the rate of one per week. The 
most recent purchases were: "Quiet, 
Please," written by Harold Buckman, 
and dealing with the medical profession, 
and "Interpole," which deals with the in- 
ternational police, headquartering in Paris. 
The latter, which Sam Engel will put be- 
fore the cameras in early summer, will 
have Richard Basehart in the starring 
role. Sy Bartlett who did such a power- 
ful job on "12 O'Clock High," will do the 

Other properties on which writers are 
currently engaged are: "The Frog Men," 
a story of the courageous undersea divers 
during the war; "Family Skeleton," which 
Claude Binyon is writing and will direct; 
'Halls of Montezuma," a Marine epic; 
'Fire," "21 Bow Street," "I Don't Care," 
'It's Only Human," "Take Care of My 
Little Girl," "Foreign Service Story," 
'The Mudlark," "The Bushranger," "Old 
380," "Trumpet to the Morn," "I'll Get 
By," "The Man Who Sank the Navy," 
'Sense of Guilt," "Mischief," "My Heart 
i'el s Me" and "Call It Treason." 

In a new major contract development, 
Jo Eisinger has been signed to a long- 
term, three-way pact as writer-producer- 
iirector for the company. Eisinger, who 
recently wrote "Night in the City" for 
this studio, checks into his new post 
mmediately. Also interesting is the 
news that Gregory Ratoff (not one of our 
favorite directors), who has been on 
leave of absence from the lot since 1947, 
vill resume his producer-director status 
in the fall. 



f IKE MEN grasping for a straw, the 
UA bigwigs are sitting around con- 
lemiplating the grosses they expect to 
'omo in from Stanley Kramer's latest 

'JANUARY 3 0, 1 9 5 0 

entry, "The Men," which wound early in 
the month. Probably no UA release in 
months has caused as much excitement 
among those who have seen the rushes, 
as has this one. 

Kramer tells this department that he 
will have the feature edited and ready 
for release in key city bookings around 
the first of April. General release will 
probably come in July. 

Hollywood has just received word from 
New York that the UA board of directors 
has approved a three-picture deal for the 
newly-formed Irving Allen-Sam Dem- 
blow, Jr., inde combination. All three 
pictures will be filmed in Ansco Color, 
with the shooting to be done on the 
Eagle-Lion lot. Teeing off their UA pro- 
gram will be "New Mexico," to be fol- 
lowed by "The Man Who Watched the 
Trains Go By," and "A Sound of Hunt- 



■yOP EXECUTIVES of the Universal- 
International lot report that the com- 
pany has now completed its drawn-out 
post-war readjustment period, and that 
their production and distribution branch- 
es are today stronger than at any period 
in the organization's history. This con- 
fidence is reflected throughout the Uni- 
versal City lot, bolstering the contention 
of this department that the company will 
emerge from its difficulties as one of 
the real leaders of the industry. 

The planning has been on a long-range 
basis, key-noted by the development of 
new ta'ent in all departments, and the 
elimination of the deadwood that has 
bogged down this and other studios in 

Other lots in town have made feeble 
attempts at building up new stellar tal- 
ent, but, in most cases, they have over- 
looked the need for new blood in all other 
phases of production. Unfortunately, it 
has reflected in the product. If the in- 
dustry is to survive and thrive, it must 
have new blood pumped into its veins 
to relieve the stagnation that has set in 
as the result of complacency and a lack 
of enterprise. 
Revitalized Designing 

As an isolated instance, consider the 
case of costume design, a department of 
movie production too often minimized. 
Whether or not producers realize the fact, 
many a picture has been popular with the 
feminine trade because of smart fashion 
designs. And here again, U-I has intro- 
duced fresh, new talent. Bill Thomas, 
who made quite a name for himself as 
Irene's associate before she left Metro, 
has just been a.dded to the Universal 
payroll as one of its new designers. And 
in all other departments there are other 
new faces, teeming with the vitality and 
freshness that makes for better motion 

At the same time, this studio is exert- 
ing every effort to secure bigger and 
better story properties. Within the next 
few months, U-I will put before the 

cameras the finest array of pictures ever 
attempted there, and it's a safe bet that 
the returns will more than justify the 
venture. Bear this prediction in mind: 
Universal-International will emerge from 
1950 in a stronger position than ever 



■^^ITH FOUR pictures in the cutting 
room for final editing and five more 
before the cameras, practically every 
department on the Burbank lot is oper- 
ating full tilt. Furthermore, there seems 
to be no lax period in the books for sev- 
eral months to come, according to the 
slate of new pictures that is taking form. 
The script department is busier than at 
any period in a year and new story 
properties are being added continually. 

As of the middle of January, the fol- 
lowing films were before the cameras: 
"Storm Warning," "Bright Lea f," 
"Pretty Baby," "The Hawk and the Ar- 
row" and "Colt .45." Being edited were: 
"The Glass Menagerie," "The Great Jewel 
Robbery," "The Rock Bottom" and "The 

Heading the list of new story pur- 
chases is "Whiteface," a forthcoming 
Tom W. Blackburn novel, which Warners 
have earmarked as a John Wayne star- 
rer, under his one-picture commitment. 
Blackburn, incidentally, is the author of 
the currently-filming "Colt .45." 

At the same time, the company con- 
tinues to line-up talent in the produc- 
tion-director field. William Keighley is 
the latest addition, having just signed a 
five-year, one-per-year director's pact with 
the studio. 




In a new juggling of personnel, 
Jack Leewood, the popular director 
of publicity for Lippert Productions, 
moved into a new production execu- 
tive post, this month. Marty Weisser 
took over his old duties, assisted by 
Jimmy Lowery. At the same time, 
the company continued to expand its 
story holdings with the purchase of 
two new properties: "Renegade," a 
Tom W. Blackburn Argosy novelette, 
and "Boston Bank Robbery," an ori- 
ginal by Edward Curtis. 


Film Classics seems to be joining 
the march of Hollywood motion pic- 
ture companies which will delve 
heavily into foreign production this 
year. According to usually reliable 
sources, no less than nine of the 12 
FC pictures for 1950, will be shot in 
Europe. Perhaps such ventures will 
pan out better for the indies than 
they have for the Hollywood majors, 
but there are still plenty of authori- 
ties on the subject who agree with 
this department that Hollywood is 
still the cheapest place to make good 


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theatremen do more than just subscribe to FILM BULLETIN 
. . . They absorb it from cover to cover . . . They buy product 
by its production information ... They book by its frank 
reviews . . . They form their views of industry policies by 
its editorial pages . . . They have faith in it . . . They 
regard FILM BULLETIN as the trade paper with something 

Important to say! 



In the Release Chart, the date under "Details" refers to the 
issue in which cast, director, plot, etc., appeared. "Rel." 
is the national release date. "No." is the release number. 
"Rev." is the issue in which the review appeared. There 
may be variations in the running time in States where there 
is censorship. All new productions are on 1946-47 programs 
unless otherwise noted. (T) immediately following title 
and running time denotes Technicolor production, (CI 
denotes Cinecolor. 


1949-50 Features 

Completed (48) 
Completed ( 2) 
Completed ( 9) 

In Production (2) 
In Production (0) 
In Production (0) 



Drama — Started Jan. 17 

Cast: Willard Parker, Audrey Long, Raymond Greenleaf 
Director: Ray Nazarro Producer: Milton Feldman 

Story: Not available. 



Tl'l" — Running Time 

Oie Wav 0u' 


Adventures of Sir Gal had The 

Al 'r» "in-\ »'(>i '109* 
And BaS tfa'es Three (84) 

Oetalls un-'er ti'ls: Pa'y Is Her' 
Binary Prate <65) 

Rand it! of El Dorado 

8»auty »• Parade ... 
Behind This Mask 

Details uader title: In a Lo rr P aee 

B-wa-e of lln-dle 

Be-o-d Purpla Ki'ls 

tUarlig Trail 

Blondie Hits 'he Jackpot (66) 

Cargo to Capetown 

Gonoe BID 

Captive Girl 

C*w T*wn 

Cowhoy and the Indians, The 

C-'t-ni'. A-eM 

DrvTs Henchrren The (69) 

Fath»r l< A Racnehr 

Feiirfin' Rh-tr-m '66' 

FWnnns «' Ca-fain Blood 

Frontier Outpost 

Girl's School 

Good Humor Man 

Her Wn-rferfl Lie . . 

0e«n||< onder title: The Ftern» «M«dv 
Hoe Down 

HMHav in favann 

Hnrsm-n of the S'eTi (56) 
JnUon Sines Aoaln (T) (96l 

KIM the lmpl-e 

Killer That Sta'k-d New York. The 

lost fjne. The (82) 

Los* T rih» The 

Mark nf the £orilla 

**-» Pyn fe'eetlve 

Wili'a-y Academy 

Miss Grant Takes Richmond (87 > 

M-. Soft Toich (T3) 

Mnlr Train 

"evadan. The 

Ho Sad Songs Fnr Me 

Oti'ea-t cf flack Mesa 


Party Girl. Tha ...!..!! 

Prl«i»n Wa-'en 

Perk'es M-me-t (82) 

Renegades of the Sage (56) 

Riders In the Skw 

Details under tl'l-- Beyond the P rp|p Hi'l 

Riders nf the Whist'ino Pines 

De'lll. tinder ff|»! Wing, WestwarQ 

Rnones of Sherwnod Forest (T) ...... 

R.stv's Rjrthdav '60) 

SnKkv fountain Meloiy (51) 
Sons nf New Mclen 

Tell It to the Judoe '87) . 

Details under title: My Next Hosbanr 

Tn'yo loe (P8) 

fra'l of the Rustlers 

Traveling ca'c<wnman 

Tvrant of the Sea 

Woman of Distinction 

Ca.t ne'all 
lod-".rawtord 1-2 


Reeves-Leigh r -9 

r.rawfo-d-Dru 12-6 

Yoom-Hale . -23 



12 49 12-5 

W-o1- 5 c , -n-'bM 3-28 11-49 

«ts»r«tt rT-C 

wuttofl-Warrlck 11-7 

Rogart-Grahame . 11-7 




- ir 

lO- 0 1 

Sin«lt'en-L««e ... . 




Crawford- 1 re I and- Drew 
"Cnlre Mnr 
Wei mul'er-Crabbe 

Autry-Davis 5-2! 

Antrv-Rvan J_2« 

Fyf e-'e -nolds J?- 10 

Rix'er-Con-erse lt_« 

Hnlden-r r av P-12. 

Arno'd-H"nrv 7-1R 

H*yward-Med : na 11-21.. 


ReynoM.-Hall 7-4. 

Carson— Wallace 6-6 

Klepon-Enaerth 11-10 

Arna'd-O'Mahoney . . 7-4 
»--»,-U,vher 12-20 

S'arrett-Rurnett 3-28 

Pa-k-Mal- 11-22 

Bendix-Henry lO-'M 

Keves-Korvin 12-5.. 

Cnrrarfl_Mart*r» Foreign 
Welswl'er-nell 9-27 
Weisn-ul'T-MarshaP . 9-96 

Hnnt-Phll'ins 7-4. 

C>rme-*<-Tvler 10-24 

Ba'l-Hnlden 3-28 

Ford- w evs 8-30 

Rand'll-Vlneent 8-30 

Courtland-Tyler 8-1 . 

sull'van -Corey 10-24 

Starrett-Burnett 11-7 

»utry-Ryan 11-21 

Cummings-Caolfleld ...9-26. 

Ba-ter-Lee e -0 

Mason-Bennett 3-28 

Starrett-Burnette . . .8-29 
Autry-Henry 8-29 






. 12-5 




Perrick-Lynn . . . 




lus el!-Cummings 



11- 49 

12- 16. 


Air Hostess '61) 

Drolins rf Oklahoma (90) 

Lone Wolf and His Lady. The (60) 
Rim of the Canyon '70) 

Rooa-t-'WIy 1-17. 

Starrttt-Purn-tte 10-10 

Dav s-Devine 8-29 

Wil'iams-Randall 8-29 

Russell-Mllland 8-1. 


Henry-Wrinht 9-27. 

8cott-Allbritton 10-25 

Scott-Malone 4-25. 

Autry-Leslio 12- 



8-49 . . 
. 7-49 

8-49 ... 
20. . .7-49. 

Secret of St. Ives. The (76) Kry-Brown 12-20 6-'9 

South of Dea'.h Valley (54) St-rrett-Burnette 4-25 8-49 

Stao Penitentiary Baxt r-zooth 12-19 


1948-49 Features 

Completed (33) In Production (1) 



Drama — Started Jan. 23 

Cast: Sally Parr, Phillip Shawn, Walter Reed 
Director: Paul Sloane 

Story: Not available. 

Producers: Paul Sloane and Helen Rathvo 

Title — Running Time 


Alice In Wonderland (A) 

Cowhoy and the Prizefighter 

Destination Moon 

Gay Lady, The 

Give Us This Day 

Golden Gloves Story. The 

Great Rupert (86) 

Guilty of Treason (86) 

Hidden Room, The (58) 

Hit The Ice 

Br.rrymcre, Jr.-MII e: 






1949-50 — 

Marsh-Murray . . 




Dec. . 





Fort i n 


! '. 6i 3 '. '. 

Wanamak-r-Pado anl 


. D'inn-Westprfall 





B'ekford— Granville 






Abbott-Costel!o . . . 

. Roeers-Cotten .... 


ln ( ermez?o '70) Bergman-Howard 

Never Fear For e;t-Brassellc 

Passport to PimMto Ruiherford-Kollowry 

Reissue Jnne 

Port of New York 
Rebecca (SRO) 


Sundowners, The . 
Third Man, The 

Frr°:g i 


Foe- <nn 





Cot en-Valli 

1948-49 — 

Aqainst the Wind (95) Beattv-Shnoret 

Black Book, The (89) Cummings-Dahl 

Details under title: Reign of Terror 

Black Shadows (62) Dcoomentary 

Blaze of Glory HcA'lister-Bu'ler 11-7 

Dedee Sionoret-Dallo Fofelgn 

Down Memory Lane (72) Mack Sernett Srorts 

Duel In the Sun (T) (138) Jones-Cotten 3-19 

Easy Money (94) Gynt-Priee For-'on 

Finhting Re-ihead Bmnon-Stewart 6-20 

It's A Small World Kosh t7-Dalp 

It's Mnidef Swit-er-Whalen K -l? 

Once Upon a Dream (87) W t' e-s-Jones Fn-<-lon 

Place of One's Own (94) Mason-Lo-kwood . Fore|-n 

Portrait of Jennie (SRO) (86) Jones-Cotten 

Prizefighter and the Cowboy. The (C) Bannon-Nova 9-12 

Ooartette (120) Baddely-Bogarde Forehn 

Ra-page Mitch ll-Lnnq 1?-'? 

Story of G.I. Joe Mered : 'h-Mitchum ... Reissue 

Tonorenw Vn 0 Die Irelanrl-Rvan . . . 5-12 

Traroed (78) "ri'ges-Hoyt 7-4 

Waterloo Road (77) MTs-Grang-r r„p»i„ n 

Weaker Sex (85) Pa'ker-Jeans Foreign 

Woman in the Hall (93) Jeans-S-mmons Fore'gn 

Zamba <75) Hall-Vlneent 

D c 





. Aug 
. Aug 






r 6 0 
9 5 





. Aug 

91 5 

Oil 10-, 


.914. ...K 

960 , 

004. .10- 





COMPLETED 1949-50 

Title — Running Time Cast Pit»ll< 

'C'-Man (75) Jagger-Carradlne 

Cry Murder (94) Mathcws-Lord 

Daeehter of the West 'C> '77) . Vickers-R.ed T-27 

Flying Saucer Conrad-Garrison 

Four Days Leave Wilde-Day 

Frustration (90) Lowenadler-Fridh ....Foreign 

Guilty B'/stander Sco t-Emerson c -12 . . 

Inner Sanetu* (62) Hoghes-Rosiell 7-19 . 9-48 

Lost Boundaries (97) Pearson-Ferrer 

Lovable Cheat. The (77) Mogles-Garner 1-31 4-15 

Not Wanted (91) Forrest-Braselle 3-14 

Pirates of Capri . Havward-Barnes 

Project 'rX" (60) Colton-Andes 10-7 

Rapture Langan-Albin 

Search for Danger (63) Calvert-Dell 1-3 4-*. 

Vicious Years Co-k-Mcrritt 

Wind Is My Lover, The Lindfo s-Kent 

1048-49 Features 

Completed (35) In Production (1) 


Ti'le — Running Time'on Hrylift 


Ca<t Details Rel No 

Brown-Hayden 1-16 .4-15 . . 




►MPLETED 1949-50 

ich. Chief (60) Curtis-Neal 11-4 

ilon. Inc. (60) Lowery-Gwynne 3-28... 6-24 

iron of Arizona, The Price-Drew 11-21. . . 3-13 

I of the Forest Lowery-Curtis 11-18 

lorado Ranger Ellison-Hayden 3-11 

ooked River Ellison-Hayden 11-21 .2-25 

lilton Gang. The (59) Barry-Lowery 8-15 

Uuty Marshal (73) Langford-Hall 7-18 

'erybody's Dancin' Cooky-Jackson 12-19 

st on the Draw Ellison-Hayden 1-2 

i nd Canyon (65) Arlen-Hughes 5-23 

llywood Varieties Alda-Hojsier Holshots 1-14 

Istile Counlry Ellison-Hayden 12-5 .3-18 

jrshal of Heldorado Ellison-Hayden 4-8 

ipar Secret Service Howard-Jergcns 1-28 

I Desert Barry-Holt 8-15 .12-3 

llgside (62) Barry-Brown 4-25 . 7-11 

S'liner (61) Travis-Blake 5-9. .. 7-28 

S are Dane* Jibllee Thurston-Hicks 7-9 

Tire Is No Escape (63) Barry-Hughes 8-15 . 11-11 

igh Assignment Barry-ste le 12-17 

lasure of Monte Cristo (78) Langan-Jergens 6-6 . 10-14 

1st of Brazos Ellison-Hayden 12-19 ... 3-25 

'stern Fasific Agent Taylor-Ryan 1-2. . 2-18 

. 4819 . 
. 4821 



. 4822 

. 4820 
. 4826 



1948-49 Features 

Completed (40) In Production (8) 






()medy— Started Jan. 16 

(ist: Joan Bennett, Spencer Tracy, Elizabeth Taylor, Billie 

Burke, Leo G. Carroll 
1 rector: Vincent Minelli Producer: Pandro Berman 

£>ry: Trials and tribulations of a father when his daughter gets married. 



Title — Running Time Cast Details Rel. No. 

Wis Grant-Ferrer 1-16 

Hi (T) Flynn-Stockwell 12-19 

Kg Soloman's Mines (T) Kerr-Granger 11-7 

liver Sequel, The Garson-Pidgeon 10-10 

J later Stock (T) Garland-Kelly 

reo Little Wo-ds (T) Astnire-Skelton 12-19 

ast of New Orleans. The (T) Grayson-Lanzn 1-16 

'a . Lan.arr-Hodiak 1-16 

OMPLETED 1949-50 

/im's Rib (101) Hepturn-Tracy 6-6 Nov 7. 

">u:h <E9) Taylor-Hodiak 6-20 Jan 13 

Au'e Get Your Gun (T) Hutton-Keel 10-24 

Ahalt Jungle Hayden-Hagen 11-21... 

Rtlegrcund (118) Johmon-Hodiak 4-25 

tck Hand. The Kelly— Celli 8-15. 

lela'ls under title: Th? Knife 

Issoms In The Dust Gaison-Pidgeon , ... Reissu° Fei 17 

t'der Incident (92) Murp':y-Montalban 2-14... 0:t 5...8-2I 

C llenge to Lassie (T) (76) Gwynn-Lassie 1-7 . . . Dec 10 .11-7 

Cspirator, The Ta -lor-Taylor 11-22 . .. Mar 

0 I's Doorway Taylor-Raymond 8-29 

Ik Stcver (T) Stockwell-Beckett 9-26 

D:or and the Girl, The (98) Ford-Leigh 5-9 ..Sept 3 

letails under title: Bodies and Souls 
Oik to Me Only Taylor-Johnson 8-29 

letails under title: The Big Hangover 

Oiess of Idaho <T) Williams-Johnson 11-7 

It Side, West Side (108) S anwyc'<-Mason 8-1 

• ruder in the Dust (87) Jirman-Srian . 3-14 

Jnny Ea-er (107) Turner-Taylor Reisrue 

1 To The City Gabe-Young 8-1 

•tame Bovary (114) Jones-Mason 1-3 

• aya (96) Tracy-Stcwar! 2-28 

etalls under title: Operation Malaya 

Btery Street Montalban-Forrest . . .11-21. 

• cy Goes to Rio Sothern-Powell 

• the Town (T) (98)) Simtra-Kelly 

liders (T) McCrea-Dahl 

Mse Believe Me Kerr-Johnson . . 

|i Danube. The (119) Pidgeon-Barrymore 

fji'raier and the Redhead Powell-Allyson ... 

Jan 16 . . 10-24 



. Aug 

Jan . 


.14. .1-16 
.9 10-24 

. . .15 

. . .18 

. .931 8-1" 
.12. 1-15 

Slow On The Wall Sothern-Sco't 

Bis Street (83) Grainger-O'Dor.nell 

Siper Surprises His Wife, The Walker-Leslie 

lis in My Crown McCrea-Drew 

Ision (95) Tottcr-Basrhart-Charrise 

tl" Forsyte Woman (112) Garson-Flynn 1-3 

Tl Midnight Kill Grayson-lturbi 

V> jw Cab Man, The Skelton-Beckett 


Sit Sinner, The (110) Peck-Barrymore 

la he Good Old Summertime (102) . . . Garland-Johnson 


. M-r . 


. D-c 



. Apr 


3-14 . 

. Oct. 


. S-23 


10-2 . 




. 4-25 . 








. Nov 

11 21 

. . . Nov 



.Sen'. . 





.Ju'y. . 

. .930 



May . 

. .925 



. . Aog . . 

. .923 

. .7-1", 


July . 


. 7-1 

2-14 . . 


. . 7-1 


.July. . 


. 4-2i 


title — Kunmng I nut Cast 
Border Renegades B.-own-Waldrin 


. . . .1-16. 




Blonde Dynamite Gorcey-Hall 12-19 2-12 

Blue Grass of Kentucky Williams-Nigh JO-24 1 22 

Border Renegade Brown-Terhune 12-19 3-5 

Details under tile: Rearing Trails 

Fence Riders Wilson-Clyde 12-5... 2-17. 

Gun Roar in Rockhill Wilson-Clyde 4-9. 

Henry Does It Again Raymond Walburn 2-19 

Jigns ?nJ Maagie Ot West Yule-Rlano ... .4-23 

Joe Palooka Meels Humphrey Kirkwood-Errol 11-7.. 2-5. 

Idler Shark McDowell-Norn's 11-21 3-TV 

Mystery of Eur|-q;e Marsh-Prrtwee Fore gn 4-18 

Square Dance Katy Vague-Davis 3-25 

Details under title: Murder in the Air 

West of Wyominq Brown-Davis 2-1" 1 . 

Young Daniel Bcone (C) Bruce-Miller 2-26 


-!. 52 








Annels in D sgui e (63) Gorcey-Hall 7-4 

Black Midng-it (66) McDcwall-Thomas 7-4 

Bomba on Panther Island Sheffield— Beebe 10-10 . 

Forgotten Women (65) Knox-Lynch 4-25. 

Haunted Trails (60) Wilson-Clyde 7-4. 

Jiggs and Maggie in Jackpot Jitters (66) . . Yule-Rlano 7-4 

Joe Palooka In the Counterpunch (74) Kirkwood-Knox 3-14 

Lawless Code (58) Wakely-Taylor 

Masterminds Gorcey-Hall 

Range Justice (57) Brown-Terhune 5-23 

Details u.ider title: Cattle King 

Range Land ( 6) Wilson-Browne 

Riders of the Dusk (57) Wilson-C yde 

Roaring Westward (55) Wakeley-Taylor 6-20. 

Trail of the Yukon (67) Grant-Dalbert 6-*. 

Wolf Hunters, The Grant-Clayton 9-12. 


Massacre River (78) Madison-Calhoun 9-27 

Delails under title: When a Man's a Man 

My Brother Jonathan (105) Denison-Gray Forei-n 

Stampede (78) Cameron-Storm 10-25. 

There's a Girl in My Heart (86) Jean-Kyan 8-1 

. 10-2 . 



11- 20 

12- 25. 

. 9-4 


. 4? 05 . 
. 4812 . 



. 4820 . 

.7-20 9. 

. .7-6 
. 8-1 
1- 0 




1949-50 Features 

Completed (25) In Production (1) 



Drama — Started Jan. 18 

Cast: William Holden, Barry Fitzgerald, Nancy Olson, Jan 

Director: Rudolph Mate Producer: Jules Schermer 

Story: Suspense melodrama told against the background of a teaming railroad 







COMPLETED 1949-50 

Ti'le — Running Time Cast Details RpI 

After Midnight I a^d-Hf n J rlx 2-28 4- r 0. 

Captain China Payne-Russell 4-25 ... 2-50 . 

Chic-ro Deadl ne (R7) Ladd-Rced 8-16 11-11 

Details under title: One Woman 

Copper Canyon (T) MiMand-l am->rr 4-25 

Dear Wife (88) Holden-Cau fielj 1-17. . . 2-50 11-7 

Eagle and the Hawk. The Paye-Flemlng 8-15 .5-10 . 

Fancy Pa-ts Hope-Ball 7-4 

Details un^er title: Wl-.ere Men Are Men 

Fjries, T"ie Starwyck-Corev 12-5 

Heiress, The (11 ) ceHrvllland-Clift 7-5 9-12 

Lawless, The 

De ai's under ti le: Outrage Carey-Russell 11-7 

Let's Dance (T) Hiton-Astaire 7-18 

Lie, The Stanwyck-Lund 6-6 

Details under title: I Married A Dead Man 

Mr. Music Crcs^y-Hussey 11-7 

Paid in F II (105) Sctt-C immings 10-25 

Place In Th 2 Sen, A CI ft-Win e-s 10-24 

Red. Hot »nt Bl-f (84) Hutton-Mature 1-31 

R ding Hi h (112) frosby-Gray 3-28 

Rone of Sind (105) Lancastrr-Calvert 2-14 

Samson and Delilah (T) (128) I amarr-Mat- re . ... 1D-2". 

Septe-be- Fon'a'n'-ro'tei 8-29 

Song of Surrender (93i Rains-Hend, Ix 2-2. . 10-2} ... 4904 .. .9-26 

ueiail' title: Abigail, Dear Heart 

Senset Boulevard Holden-Swanson 4-25 

The'ma Jo-don (100) Stmwy:k-Corey 2-28 .l- r 0 11-21 

Top 0' the Morning (19) C o tiy-°ly'he 11-22 ...9-5 .4901 8-15 

United States Mail Ladd-Calvert 8-15 

Details under title: Postal Insrector 


.3-50. .4: 15. . 1-15 

11-25. ' A 06 '. 7-i 
4-0 4^17 1-33 
.9-23 .4902 7-4 

949-50 Features 

Ulled Artists 

Completed ( 8) 
Completed ( 2) 
Completed ( 8) 

In Production (0) 
In Production ( 1 ) 
In Production (0) 


tmedy— Started Jan. 18 

list: Vera Vague, Jimmie Davis, Phil Britto 

Erector: Jean Yarborough Producer: Lindsley Parsons 

•pry: Not available. 


- 1949-50 - 

ritle— Running flue L >-t 

B-ink Clck (72) Fic'ds-Merkel 

Double Alibi (61) Morri'-Llndsay 

U.-acula's Caug' ter (71) Krug:r-Holdrn 

Frisco Sal (54) Foster-8cy 

Fury At Sea (92) Tcnc-Carrol 

Rel. No. 

. .8-49 

8-49 ... 

. . 7-49 

. . .9-49 

. . .9-4?. . . 

A N V A R Y 3 0, 1950 


Legion of Lost Flyers (63) Lui'd gnn-c r:on 9-4". 

Never Give a Suc'er an Even Briak (7) Fied-Jan 8-4" 1 

Night Monster (72) Luroi-'t-ll 7-49 

Spy Ring (fl) Wymin-Hall 8-49. 

Sun Never Sets. The <96) Fa 9-49 

You Can't Che t an Hot est Man (7S) . . . F id s-.'eraen 10-49 


1949-50 Features 


Completed (15) 
Completed (0) 
Completed ( 9) 

In Production (1) 
In Production (0) 
In Production (1) 


fitlf — Kim ,„ 4 Iin,. 

l.r:I0na Cow' oy 

'»» gers. The 

Be.'le of Old Mcxi o (Tr) 
IrlU of C-onado iln 



Drama Started Jan. 16 

Cast: Virginia Huston, Robert Rockwell, Barbara Fuller, Nor- 
man Budd 

Dir?ctor: George Blair Producer: Stephen Auer 

Story: Activities of the Los Ange'cs policewomen. 


W'stern— Started Jan. 18 

Cast: Rex Allen, Elizabeth Risdon, Fuzzy Knight, Roscoe Ates 
Director: R. G. Springsteen Producer: Franklin Adreon 

Siory: Not available. 



.«■-• '-• ■ Hf| No In 

fieri 4-25 

''.arrnll-Mara 3-11 

Ro-lri<-ner-*ockwei: .''-29 . .1-31. . .4' 06. . . . 

. Rogcrs-Fvans 8-15 i-« 4 r 41. . 

Blonde Bandit. Th* Rockwell-Patrick 9-26 12-22 . .4904 

F» e-| »-«•>:$ »» Lame Taylor-Patrick 11-21 

Fighting Kentuekian, The (100) Wayne-Ralston 3-28 ... 10-5 ... 4902 ... 9-26 

n »i« ; ls under title: A Strange Caravan 

Gu men of Abilene Line-Waller 11-7 2-6 

KM rom Clf ela d The '8") Bren'-Bari . 6-5.. .9-5. . .4901. . .9-12 

Pio eer Mar.hal Hale-Hurst 9-26 12-24 ... 4S71 

Port rf Mi sin- Men . . r t n nn-Tcwsrs 12-1" 

Powder R ver Rustlers (60) Lare-Walter 9-12 .. 11-25 . .4961 

Redwood Forest Trail Mlen-Donnell 11-7 

Rck Island Trail (C) Ti'Cer-Mara ..'.-12 

Sands of Iwo J. ma (110) ) Wavne-Mara P-l 4903 1-2 

Sava«c I orde. The E'llott-Booth .'-23 

Detail* under title: Cross v. inds 

Singing Gjns (C) Monroe-Raines 10-24 

Seath of Rio . .hn.- -23 

Tarnished Pat ick-udon 11-"1. 

Tr gg r. Jr D 0"rrs- Evans . 1 . 

Twilight in the Sierras Roners-Evms 10-10 

Unmasked Fuller-Rockwell 10-24 


Alias the Champ Rockwell-George 10-15. 817 

Bandit King of Teas .... Lane-Waller 5-23 . .8-29 P67 

Brimstone (Tr) Cameron-Booth 4-11... 8-15 814 

CoJe of the Silver Sage Lan2-Waller ... 12-19 



8 r 1 

Roges-Evans 3-28 


Down Dakota Way (Tr) (67) 

Flame of Yojth (60) . .. Fuller-Nolan 
D:lails under title: High Sc' or.l D.inHi'ers 

H m ng Fsfy Robrrts-Cooper . . 4-25 

'• it »r -e t|nj«- Lane-Ford "-2" 

Gilien Stallion, The (Tr) (67) Rosers-Evans 5-23 

H ««e By the River Hayward-Wyatt ... 6-20 

Navajo Trail Raid-rs lane-Walier ...... 8-1 

P i' OflEc; investigator (60) Do g)as-Long 6-5 

Its "er of Cher kee Str p Hale-Hurst 8-13 

trd Menace, The (87) Rockwf ll-Axman .... 

•a- 'n one 'miu;h Hale-Hurst 8-15 

Siren U Wi ter E'liott-Brennan l-^fi 

Vanishing W ste ner Hale-Hurst 1-16 

*,omir.g Bandit, The (60) Lane 4-25 


S 2 

843 9-26 

816 10-10 


84 4 . .. 

10-1 r 
. .9-1 


815 10-10 




.865. 8-15 


1949-50 Features 

Completed (44) In Production (5) 



Western — Started Jan. 9 
Cast: Charles McGraw, Adele 

Director: Richard Fleischer 

Story: Stick up gang gets heavy loot. 

Jergens, Steve Brodie, Douglas 
Producer: Herman Schlom 



TMIe— Running Time C*1 n.taii 

C-m- Share My Love n i n ie-K'a:M:r.-r.y . . 12- 1 9 

Jet Pilot (T) Wav e-leg-i 12-19 

Sons of the Musketeers (T) Wi'V-O'Han 1-2. 

White Rose for Julie Mit'h m-Bomergiie 1-16 

1949-50 — 


Big Steal. The (71) Mtch m-Bendix 

Stagecoach Kid (60) Ho't-Donnell 


Eaiy Living (77) Mature-Ball . . . 

Details under title: In'erference 

Follow Me Puietly (59) . Lun.-<igan-Pat'ick . 8-30 7-18 

Make Mint Laughs (64) Lamb-Langford 5-23 8-15 

Mysterious Desperado (61) Holt-Martin 4-11 

Siva* Splendor (T) (60) Travelogue 8-1 


Arctic Fury (61) Cambre-Mlller 10-10 

I- 17 

II- 8 







Strange Ba gain (68) Lynn-Scott 

Details under title: Sam Wynne 

Masked Raiders (60) Holt-Martin 6-21 

Ihey Live By Night (95) 0 Donnell-oran v r 

Details under title: The Twisted Road 
Woman On Pier 13 (73) Day-Ryan 5-9 

Details under title: I Married a Con-nun ist 


Dangerous Profession (79) Raft-O'Brien 5-9 l; 

Details under title: The Bail Bond Story 

Holiday Affair (87) Mitchum-Leigh ...... .8-1 1; 

Details under ti'.le: Christmas Gift 
R:d'rs of the Rrnje (60) Holt-Martin ... 5-" 

Threat, The (66) O'Sh a-Grey 6-20 11, 

Details under title: Terror 


Alice in Wonileiland iT< Disney Cartoon 

Arizona Amlush Holt-Martin 7-4 . 

Jed of Ro e> Fontaine-Ryan " ' 

Blind Spot Colbert-Ryan 11-7 J 

Capture, The Ayres-Wright 8-29 .3 

Carriage Entrance Gardner-Mitchum ....10-10 

Dynam te Trail Holt-Martin 9-26 

E Iqp of Icoi Andrews-Granger 12-3 .J 

Gun Thunier Holt-Martin 10-24 

Its Oily Money Slnatra-Rassell ... 12-6 

jlaii *v-d esi.ii> 6ji .Lloyd-Waiourn Ntc < 

Key u'dei 1 ■ . it Sin of Ha;old Diddlebock 
Out:aw The Russrll-Beetel 

Range War Tolt-Martin 8-1 

Strombuli Bergman-Vltale 5-9 

Details under title: After the Storm 

Tartan and the Slave Girl Earker-Brown 9-12 

Treasure Island iT) Dnscoll-Newton 

Unun *riimik Skits rsull Lnlii .-1 

Vt- delta . . ... ufcGenrg - irooks P g 

W«e» No More • 0 ten Valli -1 

Wh.te Tow r. The Va I -Ford 8-29 

Our Very Own Granger-Blyth 9-12 

D tails under title: With All My Love 

Bri e for Sole (87) Colbert-Young 3-14 1) 

Details under title: Love Is B g Businvss 

Cinderella <T) (70) Dis ey Cartoon Feature -H 

Ichabod and Mr. Toad (T) (68) Disney Cartoon 9 

Man on the E ff el Tower (T) (37) Tone-La jhton 1 

Mighty Joe Young (94) Johnson-Armstrong 1-5 ( 

Detais under title: Mr. Jos. Young of Atri'a 

M> Foo i h Heart (99) Andrcws-Hayward 7-4 13 

Rosea na Mc"o« '8 > Granger-Evans 11-22 8- 

She Wore a Yellow Ribbon (T) (103) Wayne-Dru 11-22 1 



Completed (6) In Production (0) 



Ti'.le — Running Time Cast 

Fallen Idol. The Rithardson-Morgan 

Gone To Earth Jone -F?rrar 

Third Man, The Cotten-Valh 

Details R'l No t 

Foreign 11-15 

Foreign I 

Foreign . 1-15 a 


1950 Features 
1949 Features 

Completed (21) 
Completed (44) 

In Production (4) 
In Production (0) 



Drama — Started Jan. 9 
Cast: Mickey Rooney, 

Director: Tay Garnett 

Story: Not available. 

Beverly Tyler, Pat O'Brien, Marilj 
Producer: Bert Friedlc 



Western — Started Jan. 11 

Cast: Tyrone Power, Susan Hay ward, Hugh Marlowe, De£ 

Director: Henry Hathaway Producer: Sam Eng 

Story: Holdup of a stagecoach. 


Drama — Started Jan. 18 

Cast: Dana Andrews, Gene Tierney, Gary Merrill 
Director: Otto Preminger Producer: 

Story: Suspense melodrama. 



Ti le — Running Time Cast Details Rel. No. 

Outbreak WiJma k-3el Ceides 1-2 

COMPLETED 1949-50 

Bg Lift The Clift-Douglas 8-1 

Deta'ls under ti'.le: Two Corridors East 

Blaek Rose, The Power 5-23 . , 

Broken Arrow Sttwart-Paget 6-20 

Details under title: Arrow 

Caribou Trail. The Scott-Williams 9-12 . 

Cheaper By The Dozen (T) Crain-Webb 11-7 . 

To ie To The Stable (94) Young-Holm 1-3 

Everybody Does It (98) Darnell-Douglas 3-14. 

Fan, The (79) Crain-Sanders 7-19 

Fioht ng Man of the Plains (C) <S4) ...Scot-Jory 6-20 

Forbidden Street. The (91) Andrews-O'Hara 

House of Strangers (101) Roblnson-Hayward 

Details under title: East Side Story 








.12-20 July. 

922 . . .' 
926. ..9- 
924 . .8 
930 M 
904. .5 
919. .f> 



Was a Male War Bride (105) G ant-S'.itridan 11-8 Sep 

ive That Brute Peters-Romero 7-i 

Details under title: Turned Up Toes 

y Blue Hesven (T) Gr If-Da ley 12-19 

Way Out Darnell-Widmark 11-7 

, You Beautiful Doll (93) Sevens-Haver 1-3 Nov 

nky (102) Crain-Lundigan 3-28 Nov 

nee of Foxes (107) Power-Hendrix 11-8 Die 

lit ery's Hurricane (83) Widmark-Oarnell 12-20 A a 

ieves' Highway (94) Con'.e-Oakie 11-22 Oct 

Details under title: Hard Bargain 

ider My Skin Gar"eM-"re:i; 10-1" ..." a. 

|D:a!ls unjer title: Big Fall 

|i James' Sand (T) (77) Stevens-Gray 7-5 luU 

i're My Everything (T) (94) P-Mlpy-Baxter 12-6 *u ■ 

sota Lil (C) (88) Montgomery-Win so: Frh 

ncing in the Dark (T) (92) PoweT-Stevens 4-11 . ,rn 

Details under title: The Bandwagon 

(i Fighters. The Peck-Parker 10-10 

ther Didn't Tell Me (88) McG i e-Lundica i 

Details under title: Oh, Doctor! 
Iht and the City Tierncy-Widmark 

•ee Came Home (106) Colbert-Marshall 

1ket to Tomahawk (T) Da ley-Ba ter 

lilve O'C'ock High (132) Peck-Mikhell 

M iash Avenue Grah'e-Mature 

\en Willie Comes Ma ching Heme (82 Da le;-Calve: 
\irlpocl (97) Tierney-Conte 




8 21 


9 - 

r >20 


6-20 f a- 
8-29 Jul 


5- 9 . 

6- 6 

.7-1 . 


.'as ; . 

03 : 

O 1 

.1- 6 


1949-50 Features 

Completed (21) In Production (0) 




T| |o — Running Time 

Bi Wheel, The (92) 

Blk Magic (10 ) 

Clnpagne tor Caesar 

Oily Is the Female (84) 

D.J. A 

Esie If You Can 

H Lies Love 

Hie of the Brave <8 

Iniin Scoot (71) 

Iriols T'a'l, The 

•ally Holiday 

Hqr Oia-Eyo 

Kl For Corliss (88) 

vl Happy (91) 

lb Is under title: Blonde Heaven 

Mi' The 

Mi, Mike (91 

On 1 Over Lightly 

Is sand 

Th Kind of Man 

tails under title: The Iron Ca-e 
Wiped, The 





A g 







Colman-Holm 8-2" 

Cummins-Dall 7-4 

O'Brien-Britton 9-12 

Henreid-MeCleod Danz 

Young-Drake 11-21 

Edwards-Bridges J- ' 6-17 . 

Mongomery-Drew . . . .7-5 . . . . 1-7 . . . St.I 

Montgomery-Marshall 10-24 

. Bendlx-Martin 8-1 Alto 

.O'Brien-Morris Bag. 

Temple-Nlven 7-4 11-25 M-L 

Marx Bros 8-2 8-5 i*-C 


Braniio-Wr'ght 11-21 

Powell-Keyes 7-4. 12-17 

Hendriv-O'Brien 1-2 

Rooney-Cagney 3-28 

Romero-McDonald 11-21 

Duryea-Storm 9-12 


Fa Parade Boyd-Brroks ... 9-1 

Sr Dan Pateh, The (95) Russell-O'Keete 12-6 

«ei Light (83) Mayo-Raft 3-14 

' Cradle Carilo-Renaldo 8-15 

ate far Tears (99) Scott-Duryea 9-27 . 

jt Honor (69) 



Day-Tone 10-21 





949-50 Features 

Completed (24) In Production (1) 





"'"►—tanning Time 

and Evalvn (S2) 
(T) (82) 

'la Lagoon 

I hp 
Kn'fe. The 

neer's Girl 
Rovenf <<,2) 

.1 !• 

The (T) (101) 


I a Is 
"r n Cill 

under title: 
a* Cactus 

Web of the 
Creek ... 


re For All (83) . 

Wis (91) 

Mt (153i 

Id rom Tevas 

la nd Pa Kettle Go To Town 

?ni O'Riordans 
ioi Iter 









. . D-c 

O'Hnra-C rlstian . 




. .12-5 


Foreign . 

. . Aug 

. .8-15 

MacMu ray-Trevor 

. Feb. . 


O'Hai-a-Cary ... 




. Mar 







. Mason-Toren .... 




. . . .10-10 

. . . .10-10 





O'Cinnor-Pitts . 

5-23 . 




O'iyler-Herlle . . 




. Mar. . 

. .911 

Main-K Ibiide 


. Apr 






. .907 



,!'•"• Murchy-Hendrlx 9-12 . 

Ia:ls under title: East of Java 

on Sea Sinner (88) Vvint rs-Carey 7-1 

WW of Molly X. The (100) Havoc-Brady ... 8-1 

lg Little Island (81) Radford-Greenwood Foreign 

"J 10 " < 7 °> Brady-Russell 8-29 

'a. Is under title: Frameup 

O'n In Hiding (92i) Luirir.o-Ouff 8-15 

l;a!ls under title: Fugitive from Terror 


.labned (79) S orm-O'Keefo 

IC Meet the Killer. Boris Karloff Abbott-Costello 2-28 

.rat) Manhunt (69) Conrad-Thurston 

•Ijlty Jane and Sam Bass (T) (85) . deCarlo-Duff 10-25 

■ l Sj Pher Columb,,s (T > ( 104> March-Eldredge 

. 'tyjlerosi the River (90) Curtls-Jaeckel 10-11 

I alls under title: Amboy Dukes 




908 1-16 
902 11-21 

904 12-19 


. Aug 



695 .. . 
699 .. . 6-6 
708 10-24 

: eadt,i , Fussln' and Flgh'in' (78 

Details under title: Tne Wondrrful Racr 

Gal Who Took the West (T) (84) . 
D tails under title: The Western Story 

Illegal Entry (84) 

lohnny Stool Pigeon (75) 

Details under title: Partners in Crime 

Lady Gambles, The (99) 

Man-E'tt-r at Kumran (79l 

Once More. My Darling (92) 

One Woman's Story (86) 

Swcrd in the Desert (100) 

Yes Sir. That's My Baby (82) 

Woman Hater (69) 



3-1 . July ... 665 . . 6-21 
.2-14 . Sep 9-2f 

. Cuff-'oren 12-20 

Duff-Winters 4-11. 

. Ju y. 

Slanwyck-preston 12-20 June 

^bu- ag> .... 12-22 July 

r/on no e y-Blyth A g 

rndd-Rains Foreign June 

Andr ws-McNally 3-14... Oct. 

D'Co'nor-DeHaven 1-3... Sep. 

Grangcr-Fevillere Foreign . July 







194")-C0 Feature , 

Completed (27) In Production (3) 


Storm Cenicr 

r tv 

Coo er- N al 
Rcgers-R agnn 

1949-50 — 


Berh-Mayo . 
Lindfors— 0' 3r iai 

Cay s-Cjtten 

Title — Running Time 

Br ght Leaf 

Storm Warning 

Details under title 

After Nightfall 

Always Leave Them Lauh'nj (11 J) 

Backfire (:1) 

Details under >''e: Somewhere ir 


Beyond the Forest (96) 

Cage, The Parker-Mooriiead 

Casablanca (102) Bogart-Beroman 

Castle on the Hudson '77) Garfield-Sherdan 

Chain Lightning Boiart-Parker 

Colt .45 (T) Scott-Pomnn ... 

Daughter of Rosie O'Gray (T) Haver-MacRae 

Farewell to Arms (78) Hayes-Coo-er . . . 

Glass Menagerie, The I awrence-Wyman 

Hasty Heart. The (93) fe-gm-Ne I 

Hatche man, The (74) Robinson-Young 

Hawk and the Arrow. The Lancaste--Mayo 

House Across the Street (69) Morris-Paige . . 

Inspector General. The (T) (102' Kaye-Bates 

Details under title: Happy Times 

Lady Takes A Sailor, The (99) Wyiran-Morg n 

Details under title: Octopu< and Mis Smith 

Mon'ana (T) (76)) Flynri-s^ith .. 

North of tha Hie Grande McCrea-Maya . 

Details under title: Celortde Ter tory 

Perfeet Strangers R»o'-s-Morgan 

Pretty Baby Vo't-Morgan . . . 

Retarn of the Frontiersmen MacRac-Calhoan 

Sergeant York (134) Cooper-Brennan 

Silver Lining <T) '?» r-Beir,, 

Stage Fright Wyman-Dietrieh 

Story of Seabiscult. The (T) (93' Temple-McCailister 
Details under title: Always Sweethearts 

Task Foree (116) Cooper-Morris 

This Side of the Law Undforj-Smlth 

Datalll under title: "Deadlaak" 

Under Capricorn (T) (117) -jergman-Cetten 

Victim, The Cr?wford-Brian 

White Heat (114) ragnsy-Mayo . . 

Yoong Man With A Horn Douglas-Bacall 


Colorado Territory (94; 

Flamingo Road (94) 

Fountalnhead, The vll3) 

G-Man (85) 

Girl from Jones Beach, The (78) 
Look for the Silver Lining (T) (106) 
My Dream Is Yours (T) (101 > . . 
Night Unto Night (84) 

. . l?-5 . 

Rci s e 12 10 




















.5-9 3 




Your Sen it o — Out I'rspntisibility 


Member \»f*l Him Currierx 

250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 


We thank all theatre owners and managers who 
cooperated with us by putting return trailers in the 
proper addressed containers and for wrapping 
and addressing all return advertising. 

We can serve all theatres better if they give us 
a copy of their program Tuesday each week 


Don't put your return film in the lobby until all your 
patrons have lejt after the lust shoiv. 


236 N. 23rd St., Phila. 3 — 1239 Vine St., Phila, 7 
LOcust 4 0100 

McmiHT National Film Carriers 



8 1 

1 -s 


. .2-11. . 

. fl5. 




! 10-22 

f 06 

. .11-7 


Re i sue 



R" <s- 



r 0? 

* 29 . 



r C9 

11-7 . 




1 -13 

8 2 


911 12-13 

.914. .1-30 


9-2 * 







4-2 - 

Coooer-Neale .... 


7-2. . 




Rei <ue 







Haver-Bolger .... 



_ i 



4 '6 




. . 9-30 




K l 

I ') 5 ii 


f ot the 




„ service Corp. 
national Screen Ser 
feU Broadway Y> 

He* York 19» or eciation of 

Gentian: Mtwr t . s*>« " 

, am sending 7°" ™ oe ivea from tW» ryon e at ™ e . 

irsaa- a !r - s 

i a. ae^-^e -n « 
1 . ~ will take sincerely s 

■(ok*"*"*? s 


Sincerely yours, 




$3 per Year 

25c per Copy 


FEBRUARY 13, 1950 

Editorial by MO WAX 

Page Seven 



This is IT! 






Produced and Directed by Roberto Rossellini • Released by RKO Radio Pictures 





,!4lll= 5ilJ1 



^wi^s5f: i ,,,e,, -*-'-'&i* M 


Ff0m * he 8 °°" -The Docto, 

Produced by FRED KOHLmR 

Wears Three Face 

s " b * M'a'v 83rd 




% - 




20th Century-Fox selected "Mother Didn't Tell Me" for a $7500, sh 
manship contest because the exploitction and promotional possi 
ties are limited only by the ingenuity of the showman . . . and are r< 
ily adaptable to all sorts of situations, large, small and in-betv 

Your local depar 

store, drug, 5&10, notions and specialty shops are literally a gold 
for tie-ups keyed to the theme "Mother Didn't Tell Me I'd look bettei 

W±L First arrange special 

ings for women's page editors, teen-age columnists, family couns 
feature writers. The picture is loaded with substantial material f< 
page articles on marital relations, etiquette, human relations, mot 
law problems, etc. 

The Inquiring Reporter stunt is a cinch with such questic 
"Should a Mother tell her daughter Everything?" Newspaper 
can be promoted along the lines of "Most Embarrassing Expei 
under the heading "What I wish My Mother Had Told Me" 

W 1 ITT V/ T T W 1 V UII V, - V | ; VH U V ^ J / 1 V4 T UbULLVll iV/l LIT VJ 

at Walter Jacob's Vacation Wonderland, The 
Lord Tarleton Hotel, Pike, New Hampshire 


2nd PRIZE $350 3rd PRIZE $250 4th PRIZE $150 

o prizes $100 20 PRIZE * $75 50 PRIZES 

Open to any theatre that plays "Mother Didn't 
Tell Me" between February 25 and May 4, 1950. 



lany types of women's organizations are deeply 
ture. PTA, discussion, literary and child guidance groups 
<ui be approached. Hire a local child psychologist to speak before all such groups as well as high school 
nd college assemblies on the subject "Mother Didn't Tell Me". Such a speech can be a real public 
rrvice on the part of the theatre and should not be commercialized beyond the title of the speech, 
Mother Didn't Tell Me." 

Doctors and nurses speak 
ig the course of the day. Arrange 
ecial advanced showings for key doctors and nurses, 
hey will create wonderful word-of-mouth for you. 

m£ ' l' rc f ()ur teen-age boys. Paint 

: black eye on each and have them parade around 
l>wn carrying the sign "MOTHER DIDN'T TELL 
HE". We guarantee this one will cause plenty of 
nirthful comment. The title lends itself for sniping 
md stencilling. It'll be picked* up by the local teen- 
[e contin^ 




Exhibitor, Capitol Theatre, Dover, Delaware 


Member of the Executive Committee of Theatre Owners of America 

MR. trueman rembusch 

President, Associated Theatre Owners of Indiana, Inc. 




Sponsored by Twentieth Century-Fox Film Corporation 




Any manager and/or advertising manager of a theatre in 
the United States or Canada who opens or plays the 
Twentieth Century-Fox feature picture MOTHER 
DIDN'T TELL ME, starring Dorothy McGuire and Wil- 
liam Lundigan, during the period of February 24, 1950 to 
May 7, 1950 inclusive. Judges of this contest and members 
of their families are excluded. 


All entries must be postmarked on or before Midnight May 
21, 1950. 


Judging will be based upon the best and most productive 
advertising, exploitation and publicity campaigns for 

In judging winners, consideration will be given to the nature 
of the run, the class of house, its location and business pro- 
duced, in order to permit equal competition between small 
town theatres, neighborhood houses and downtown deluxe 


A total of 134 prizes totalling $7500 will be given to winning 

First Prize . . 
Second Prize 
Third Prize . 
Fourth Prize 
Next ten prizes 

$500 U. S. Savings Bond 
350 U. S. Savings Bond 
250 U. S. Savings Bond 
150 U. S. Savings Bond 
100 U. S. Savings Bonds each 
Next twenty prizes 75 U. S. Savings Bonds each 
Next fifty prizes . 50 U. S. Savings Bonds each 
Next fifty prizes . . 25 U. S. Savings Bonds each 

(1) Submit a written summary of the advertising, exploita- 
tion and publicity campaign you stage for your engagement 
of MOTHER DIDN'T TELL ME, documented with news- 
paper tear sheets, photos and any other specimens. 

This summary may be in any form you elect, whether letter, 
memo, scrapbook, folder, etc., and may be of any length or 
dimension. However judging will be done solely on the basis 
of the factors outlined in these Rules. Elaborateness of 
campaign books or of presentations will have no bearing 
whatsoever on the decision of the judges. 

(2) This summary must in all instances include the follow- 
ing specific information, in addition to an outline of the 
campaign activities themselves: 

a. size of theatre (seats) • . 

b. population and type of community 

c. run given MOTHER DIDN'T TELL ME 

d. percentage or normal business. . , 

e. receipt for engagement (optional) 


Send your summary by first class mail to: 

Twentieth Century-Fox Film Corp. 
444 West 56th Street 
New York 19, N. Y. 

used by or through said corporation. 

In case of a tie, duplicate prizes will be awarded. This con 
test is subject to federal, state and local regulations. 


The committee of judges will select the best entries. Their 
decision will be final and the winners will be notified by tele- 
phone or telegraph. Entrants agree that all summaries sub- 
mitted in the contest are the property of Twentieth Century- 
Fox Film Corporation and that the same and/or material or 
ideas therein contained may be ireely copied or otherwise 



Vol. 18, No. 4 February 13, 1950 

Page Seven 

What Have 

Done Today To Help 

Secure Repeal of the 


Amusement Tax 


flLM BULLETIN— An Independent Motion Picture 
Trade Paper published every other Monday by Film 
Bulletin Company. Mo Wax, Editor and Publisher. 
BUSINESS OFFICE: 75 West 45th St., New York, 
19; Circle 6-9159. David A. Bader, Business 
1239 Vine St., Philadelphia 7. Pa., Rltlen- 
hoisc 6-7424; Barney Stein, Managing Editor; Jack 
Taylor, Publication Manager; Bobert Heath, Circu- 
lation Manager. HOLLYWOOD OFFICE: 659 Haver- 
ord Ave., Pacific Palisades, Calif., Hillside 8183; 
lay Allen, Hollywood Editor. Subscription Rate: 
INE YEAR, $3.00 In the United States; Canada, 
i4.00; Europe, $5.00. TWO YEARS, $5.00 In the 
Inited States; Canada, $7.50; Europe, $9.00. 

The convulsions suffered by the motion picture industry every time some 
errant individual within its ranks commits a breach of good conduct is as in- 
explicable as it is irrational. The Bergman-Rossellini incident is just another 
instance of human error, magnified far beyond its real significance by the fact 
that the people involved are newsworthy, yet certain segments of our industry 
are screaming like members of an old maids' club who have just discovered 
a mouse in their midst. 

This is not an attempt to minimize the scandalous aspect of the affair. 
All the more because Ingrid Bergman had endeared herself to millions of 
people is her conduct viewed with repugnance. But that is a personal matter, 
purely personal, despite her spot in the limelight and despite the polemics of 
those who regard her as a chattel of the ticket-buyers. 

Experience has taught us that the public at large is rather broad-minded 
about the occasional lapses of famous artistic personalities, without believing 
that such charity entails any sacrifice of their personal distaste for the im- 
proprieties. Most Americans do not, thank heavens, consider witch-hunting 
a sport and we do not burn at the stake sinners who violate the moral code 
by whi"h the majority abides. To the average American, the Berginan- 
Rossell'ni matter is regarded as an unhappy, gossip-provoking incident, for 
which the individuals involved will pay with a toll of shame and regret. 

Not so tolerant are some prominent people in our own industry. The 
nervous and the self-conscious among us, in their fear of reprisals, actually 
heap coals on the fires set by those elements who would commit arson on this 
industry ill their avid desire to mould the movies to their insular tastes, re- 
strict thein to the confines of their narrow opinions. Why do some film and 
theatre men feel impelled to rush into the arms of these censor-minded blue- 
noses who would (if only they could!) control what we may see, hear, read 
and, perhaps, even what we may think? We find it difficult to understand 
on either moral or business grounds, the thinking of industry- leaders who 
would ban the film "Stromboli". 

Trueman T. Rembusch, in a bulletin to the members of his Associated 
Theatre Owners of Indiana, wrote: 

"The sordid Bergman-Rossellini affair has dealt the motion picture 
industry a severe blow 7 . The responsibility for that affair rests directly 
on those persons in the industry who in the past have failed to properly 
police and discipline errant stars. 

"However, Mr. Exhibitor, the public places the blame directly on 
the theatre owner's shoulders. I don't care to shoulder that blame. I 
know that by a do-nothing attitude I accept that blame. I also accept 
ultimate defeat in every issue attacking theatres. I don't care to accepl 
that blame or that defeat. 

". . . The future of vour business and your standing in your com- 
munity is at stake." 

At about the same time last week, TOA's Gael Sullivan, speaking before 
a thcatremen's convention in Illinois, took the position that responsibility for 
disciplining offending screen personalities rests squarely on the shoulders of 
the Guilds of Hollywood. He said: 

"Each Guild should have the grave responsibility to discipline 

those members whom they find to be fugitives from moral decency anil 

offenders against good taste. That is where the real responsibility lies." 

FILM BULLETIN finds equally untenable the viewpoints of Mr. Rem- 
busch (which was adopted by National Allied's board of directors I and Mr. 
Sullivan. Their positions pose a couple of vital questions that must be answered 
intelligently and unerruivocally for the future well-being of our industry and 
the people who live by it. 

1. In this free land, has anv industry, or any segment thereof, the 
right to arrogate to itself control over and judgment of the personal con- 
duct of the individuals within its ranks and to impose penalties for be- 
havior deemed unfitting? 

2. Is it wise for the people of this industry to foster censorship <>l 
any kind, except thai which governs decency in the contents of the films 
they produce? 

Quite simply, the issue of whether "Stromboli" shall be released or 
banned hinges on the question of whether a motion picture, the product of 
combined artistic endeavors b\ numerous people players, writers, directors, 
technicians shall he hai red from public \ iew because some person associated 
with it is guilty of immodest or immoral behavior. II \>e Americans believe 
in such censorship, let's carry from the libraries and burn the classics from 
the pens of authors who were guilty of acts contra bonos tttores, let's tear from 
the walls of our art galleries the obi masters whose creators sinned in their 

I Continued on Pane 3(t) 

The Year's Greatest Honor 




"Gold Medal Winner' 



"Gold Medal Winner" 





One of 5 Top Roles of 
Year for Actresses 

iff i (-gpyv 

' Citation 


One of the "10 Most Popular 
Pictures" of the Year 


honored by the fans 
of America in Photo- 
play's Annual Poll 
of the public is now 
appearing in the 
big M-G-M adven- 
ture success 



One of the "10 Most Popular 
Pictures" of the Year 


selected as the No. 1 
actress by Country 
Gentleman's millions of 
readers and by exhibi- 
tors in Boxoffice Mag- 
azine's Barometer and 
now honored by Photo- 
play will next be seen 
in M-G-M's 

And naturally the most popular trade-mark! 


Volume 18. Number 4 
February 13, 1950 

JXvii's and Opinion 


It was all over after twelve long years. 
The case of the U. S. vs. Paramount et 
al, which began in January, 1938, in New 
York's Federal District Court and travel- 
ed a twisted road dotted with court de- 
crees, appeals, consent decrees, out-of- 
court negotiations and virtually every 
thing else that could happen to an anti- 
trust suit, reached the end of the road 
last Wednesday (9th) in the same tri- 
bunal whence it started. The final ver- 
dict: Complete divorcement of exhibition 
from production - distribution, within 
three y:ars. and a set of trade practice 
iniunctions to forestall formation of a 
new monopoly. 

Although appeal to the U. S. Supreme 
Court by the remaining defendants, 
Loew's, 20th-Fox, Warner Bros., Colum- 
bia, United Artists and Universal, was 
still a possibility, there was little liksli- 
hood seen that, even should such appeal 
be taken by any or all of the defendants, 
the Supreme Court would alter the 
Statutory Court decision. Last May, 
whon the high court made its recom- 
mendations and indicated that the lower 
tribunal resort to divorcement and di- 
vestiture as the cure, it was virtually a 
foregone conclusion that the U. S. Dis- 
trict Court would include divorcement in 
its final decree. 
Separate Judgment 

A separate judgment for the Little 
Three, Columbia, UA and Universal, was 
handed down and embodied all of the trade 
practice restrictions for the theatre-own- 
ing defendants. The one provision that 
did not apply to the Little Three was that 
which prevents any of the majors from ac- 
quiring theatres. While this was a spe- 
cific requirement for the latter, there was 
no such proviso for the non-theatre own- 
ing defendants and any action involving 
theatre acquisition by them would have 
to be settled in subsequent litigation. 

The involved negotiations between War- 
ners, 20th-Fox and the Government toward 
a consent decree are negated, except for 
any factors which are not considered in 
the Court decree, or on which there is any 
ambiguity. In these cases, consent agree- 
ments may still be rr/.ched. The major 
topic on which negotiations will now be 
considered between the defendants and 
the Government is which theatres are to 
be divested and which will remain in a 
new and completely autonomous theatre 

Separation Plan In 6 Months 

According to the terms of the decree 
handed down by presiding Judge Augus- 
tus N. Hand, and District Judges Henry 
W. Goodard and Alfred N. Coxe: 

--Within six months from entry of the 
decree, each of the affiliated defendants 
must submit a plan for separation of its 
distribution-production business from its 
exhibition business. Upon filing of such 
plan, the Government shall have three 
months in which to file objections or 

—Such separation shall be concluded 
jwithin three years from date of entry of 
/Jthe decree. 

■Divestiture of theatre interests, other 


The Favorite W on 

than those heretofore ordered to be di- 
vested, to satisfy the requirements of the 
Supreme Court decision shall be filed by 
both parties, and each will have six 
months in which to file objections or pro- 
pose amendments. 
No Cross-License Ban 

-None of the theatre-owning distribu- 
tors and no distributor company result- 
ing from the divorcement shall engage in 
the exhibition business; no defendant ex- 
hibitor or exhibitor company resulting 
from divorcement shall engage in the dis- 
tribution business, without specific permis- 
sion from the Court after it is satisfied 
that "any such engagement shall not un- 
reasonably restrain competition in the dis- 
tribution of exhibition of motion pic- 

--No limitations are placed by the Court 
upon the right of the defendants to exhibit 
their own product in their own theatres 
during the three years prior to divorce- 

-Any cf the parties are authorized to 
set up an arbitration system with an ac- 
companying appeal board in conjunction 
with the American Aribitration Associa- 

Injunctions Ordered 

-Both the theatre-owning defendants 
and Little Three are enjoined from con- 
tinuing to engage in trade practices pre- 
viously found to be unlawful. These in- 
clude: Fixing of minimum admission 
prices; agreeing with distributors or ex- 
hibitors to maintain arbitrarily a clear- 
ance system; unreasonable clearance; op- 
erating existing or new franchises except 
those permitting an independent exhibitor 
to operate in competition with affiliated 
theatres or with a new circuit resulting 
from divorcement; "Formula deals" 
whereby a theatre circuit is granted a 
rental fee measured by percentage of a 
picture's national gross; and conditioning 
the licensing of one film upon that of 

-All defendants must license their pic- 
tures theatre by theatre and picture by 

picture without discrimination. 
Books Open to Gov't 

To insure compliance with the decree, 
Department of Justice representatives are 
given specific permission to examine the 
books and records of any of the defend- 
ants, and to interview companv officers 
or employes. Information obtained in 
this manner shall nat be divulged by the 
Department of Justice "except in the 
course of legal proceedings to which the 
U. S. is a party, or otherwise required by 

Counsel for many independents cur- 
rently suing the film companies were 
jubilant over the decree and the surpris- 
ing suddenness with which it was sub- 
mitted, particularly in view of the con- 
sent decree negotiations which were ex- 
pected to be concluded momentarily be- 
fore the Court handed down its decision. 
The most important immediate factor is 
that the decree can now be entered as 
evidence in the private anti-trust actions 
and a buzz of new activity is expected in 
this direction. 


Trueman T. Rembusch, of Indiana, is 
the new president of Allied State Asso- 
ciation, succeeding Wisconsin's William 
Ainsworth. The new Allied topper was 
named at the organization's annual Board 
meeting in Washington last weekend. 
Also elected for a one-year term were 
Charles Niles, Iowa, treasurer, and Irving 
Dollinger, New Jersey, as secretary. 
Abram F. Myers was re-elected as board 
chairman and general counsel. 

The Allied board also ratified partici- 
pation in the Council of Motion Picture 
Organizations; authorized formation of a 
committee to inquire into competitive 
bidding in all Allied territories and a com- 
mittee to face the sales toppers of the 
various film companies with alleged vio- 
lations of their promises on percentage 
pictures; condemned the playing of 
"Stromboli," and made its entry into the 
theatre television field by authorizing a 
committee to appear before the FCC to 
seek special frequencies for theatre TV. 
Berger Sole Opposition 

Although Rembusch was a favorite in 
the presidential race, many thought Ben- 
jamin Berger, of Minneapolis, was a good 
bet to head the independent exhibitor or- 
ganization. No other candidates for the 
presidency were even considered as a 
likely prospect. 

It was stressed, in ratifying COMPO, 
that participation will be for only the one- 

(Continued on Next Page) 

REVIEWS in this 

The Third Man -'»> 

Key to Che City 20 

Chain Lightning 20 

Conspirator 21 

Kugie and the Hawk 21 
Nancy (i<M>s lo Rio M 

Netvs and Opinion 

{Continued from Preceding Page) 
year trail period voted at the Minnea- 
polis meeting, and that ratification was 
based on the setup as constituted at that 
meeting. Any changes in COMPO's or- 
ganization or financing would have to 
be brought before the Allied board for 
approval. Rembusch was named as Al- 
liens delegate to COMPO and Nathan 
Yamins of Massachusetts was chosen al- 

The Board's action in voting to recom- 
mend" that Allied exhibitor members not 
play "Stromboli" was based on the feel- 
ing that while theatres might cash in on 
the current publicity attendant on the 
Bergman-starring vehicle, it would "in the 
long run" hurt the exhibitor who played 
the picture. The Board also resolved 
to send a note of protest to Ned E. 
Depinet, president of RKO, distributors 
of the film, against release of "Strom- 
boli" as inciting "bad industry public re- 
Bidding Inquiry 

The competitive bidding committee will 
conduct its inquiry in each territory in 
which there is an Allied unit, receive all 
complaints and report to the next board 
meeting, due to be held next May in 

Myers declared that bidding was ori- 
ginally ordered by the Federal District 
Court as a weapon for the independent 
exhibitor in competition against the 
large and affiliated chains. He said there 
was no basis in any recent court ruling 
which made competitive bidding manda- 
tory or necessary in buying situations 
which found two or more exhibitors seek- 
ing the same picture. 

Myers also urged exhibitors to an all- 
out effort on the Federal admissions 
tax, particularly in view of the Presi- 
dent's message and the requirement that 
a two-thirds vote is necessary in both 
Houses of Congress to override a Presi- 
dential veto. 

The committee on "must percentage" 
films will travel to the New York home 
office of the distributors, armed with evi- 
dence of broken promises given Allied 
last year that percentage films would 
not be a requirement in selling their 

Initial TV Action 

The Board's action authorizing an ap- 
pearance before the FCC was the first 
formal procedure instituted by Allied in 
the TV field. Myers declared that the 
decision was designed to "protect the 
interest of the independent exhibitors be- 
fore the Commission." The board also 
voted to retain special counsel as well as 
technical assistance in formulating the 
Allied plea before the FCC. 

The Board defeated proposals to create 
the office of vice-president and to reinsti- 
tute the executive committee. 

Pittsburgh was named as the Conven- 
tion city for 1950. 


The preliminaries over, the first round 
in the main bout between the motion pic- 
ture industry and the Administration 
was due to start this week. The purse: 
repeal of the wartime admissions tax. 

Primed to enter the ring were the 
champions of the industry campaign, 
members of COMPO's taxation commit- 
tee, with chairman Abram F. Myers and 
TOA's Gael Sullivan doing the punching. 
Their appearance before the House Ways 
and Means Committee was scheduled to 
be among the first of interested parties 
due to testify on current excise taxes as 
open hearings began. 

The industry representatives were not 
going in cold. The members of the Com- 
mittee had been bombarded with a bar- 
rage of letters, petitions, telegrams and 
personal pleas from industryites and 
moviegoers, urging removal of the dis- 
criminatory tax. 
Patrons Sign Petitions 

The industry was mobilized as never 
before for a single issue. Organization 
meetings of distributors and exhibitors 
had been held in every film center by 
the end of last week. Theatre managers 
reported that patrons were obviously de- 
lighted at the opportunity to register 
their opposition to the tax. Over 600,000 
petition cards had been signed in New 
York City alone and the number was 
expected to reach many millions before 
a decision was made in Congress. 

Commenting on this facet of the cam- 
paign, Myers declared: "A substantial ex- 
tra dividend is that this comradeship in 
a common cause is bringing the theatres 
and their customers together in a new 
and closer relationship. Based on our 
experience thus far, it behooves exhibi- 
tors and managers to remain in their 
lobbies while the petitions are being 
signed and make friends with their 

Pledge to Pass on Saving 

More and more organizations were 
pledging to pass on any tax cut saving 
to their patrons. All of the theatres in 
New Jersey, represented by the Federa- 
tion of N. J. Theatres, comprising Allied 
of N. J., TOA of N. J., and ITOA, in ad- 
dition to unaffiliated theatres, formally 
voiced their intention of passing on the 


The motion picture companies 
will give financial support to this 
year's "Oscar" awards of the Aca- 
demy of Motion Picture Arts and 
Sciences. The decision, a reversal 
of their previously announced poli- 
cy that they would no longer allot 
any funds towards the annua] pre- 
sentations of the Academy, was 
taken on recommendation of Holly- 
wood studio executives. 


From a Babe, a Tempest 

saving. The same was true in most or- 
ganized theatre groups, as every effort 
was being made to enlist full-fledged 
public support for repeal of the tax. 

The Administration, however, seemed 
determined not to give up the lucrative 
levy. Secretary of the Treasury John 
Snyder, first to appear at the tax hear- 
ings before the House Ways and Means 
Committee, made it plain that the Ad- 
ministration does not favor a slash of 
any sort in the ticket tax at this session 
of Congress, and indicated that should 
the legislators vote for any reduction, a 
Presidential veto would be forthcoming. 
Thus, it became a question of the opposi- 
tion's lining up enough votes to override 
a veto. 

Ticket Tax Ninth 

The secretary named seven excises 
which had been favored for repeal or 
reduction but the admissions tax was not 
among them. Questioned specifically 
about the ticket tax by Rep. Stephen 
Young (D., Ohio) who is on record as 
favoring repeal of the wartime admis- 
sions tax, Snyder explained: "We chose 
those which on the basis of our studies 
were in need of most urgent relief. We 
would like to go on to help the others 
as rapidly as possible." When Young 
pressed as to whether the admissions tax 
would be next in line for reduction, Sny- 
der referred him to the Administration 
priority list, which has the admissions 
tax ranked ninth. It was the fifth most 
lucrative levy, being preceded only by 
liquor, cigarettes, fermented malt and 

Young, ordinarily an Administration 
supporter, is one of the most ardent ad- 
vocates for repeal of the wartime ticket 
tax. Later he told the House he planned 
to go beyond the Treasury's excise tax 
proposals and urged that the admissions 
tax be included in the cuts. Young 
blamed the tax for "huge losses in a 
heretofore profitable business," and for 
"dismissal of employes in moving-picture 
theatres." He called the levy "an in- 
defensible tax on the poor man's enter- 
tainment and the pleasure of children," 
and served notice that he will cast his 
vote "to remove these excise taxes on 
admissions or at least cut them in half. 
I denounce them as restrictive, regres- 
sive, obnoxious and atrocious." 


The tempest had its beginnings last 
Spring when Ingrid Bergman went to the 
island of Stromboli to make a picture 
with the famous Italian director Roberto 
Rossellini. Reports that the relations be- 
tween Miss Bergman and Rossellini were 
more intimate than the ordinary actress- 
director relationship brought Dr. Peter 
Lindstrom, her husband, to Italy for an 
air-clearing. The latter's pronouncement 
that his wife would return to the U. S. 
and her family after finishing the film 
only served as a breather for the wide- 
spread newspaper publicity. Shortly 
thereafter, Miss Bergman announced that 
she would seek a divorce and the news- 
papers had another field day. The ex- 
plosion finally came as the news journals 
blared forth that Miss Bergman had borne 
a son and director Rossellini proudly pro- 
claimed that the child was his, and that 
he and Miss Bergman would be married 
on February 15th. 

The storm of denunciation that follow- 
ed was immediately met with a counter 
{Continued on Page 19) 



eS^w ^ffitmmesmts The Greatest iJoxoffice Attraction 

Since The Beginning Of Motion Pictures! 

mson is chained like a beast to the grist-mill In the mighty temple of Gaza the Saran s court watches Samson taunted by the Philistines Treacherous Delilah cuts the hair !hat has made 

\ ! 

Wonder After Wonder Unfolds In Scene After Scene Of 

^ Cecil 3. DeJIM JlaJkpkce 

§am$ott aitufltelilali 



The Greatest Love Story 
Since The Beginning Of Man 
. . . And Woman! 


ainsoit «uiri Delilah 




News and Opinion 

(Continued from Page 10) 
blast defending the actress and objecting 
to her being singled out for vituperation 
simply because she was a famous name. 

But most of all, a jittery movie indus- 
try, attempting to improve its public rela- 
tions, took a kick in its PR pants as the 
affair gave Hollywoodphobes plenty of 
ammunition. Religious organizations, 
women's groups, censor boards, even legis- 
lators, hurled criticism at Hollywood in 
general and Miss Bergman and RKO, dis- 
tributor of "Stromboli," in particular. Re- 
lease of the picture has been set for Feb. 

In Texas, State Representative R. E. 
Blount introduced a resolution in the 
Legislature to prohibit the showing of 
"Stromboli" in the State. The resolution 
censured RKO for exploiting the movie 
and planning to release it the same day 
the "illicit marriage" is to take place. 

Church groups, both Catholic and Prot- 
estant, publicly denounced the star. In 
Alabama, the Birmingham Protestant 
Ministers Association asked theatres to 
ban all films in which Miss Bergman ap- 
pears and those Rossellini directs. The 
The group charged the whole affair "tends 
to glorify adultery." Similar action was 
taken by the Albuquerque (N.M.) Minis- 
terial Alliance, which called on citizens to 
boycott "Stromboli." And in Los Angeles, 
the congregation of the Trinity Methodist 
Church, claiming a membership of 3500, 
asked Motion Picture Association presi- 
dent Eric Johnston to throw his weight 
against showing of any picture in which 
Miss Bergman appears. 

Criticism, however, was not limited to 
extra-industry groups. From Indianapolis, 
home of the so-called Finneran plan to 
punish erring stars, came immediate ac- 
tion by exhibitors to keep "Stromboli" out 
of many theatres. James P. Finneran de- 
clared that the picture will not be shown 
in his chain of 12 theatres. And Trueman 
T. Rembusch, president of ATO of Indi- 
ana, called upon exhibitor members not 
to take a "do-nothing" attitude. While he 
placed the "responsibility for that affair 
. . . directly on those persons in the in- 
dustry who in the past have failed to 
properly police and discipline errant 
stars," he warned exhibitors that "the 
public places the blame directly on the 
theatre owner's shoulders." He cited ac- 
tion taken in towns in which he has the- 
atres where half-page ads in newspapers 
proclaimed that "Stromboli" would not be 
shown in his theatres. "No more can an 
exhibitor hide behind block booking as an 
excuse for licensing a picture such as 
'Stromboli'," he declared. 
TOA executive director Gael Sullivan, 
eclared, however, that responsibility for 
rring stars rests with Hollywood Guilds, 
ho alone can safely discipline the play- 
rs. "Individual producer chastisement 
C any erring star is ineffective to prevent 
ny star's further employment," he said. 
'Combined producer chastisement may 
ell be a violation of the nation's laws, 
et the Guilds accept their duty of gain- 
ng even more understanding and support 
"or their worthy good-living members, 
nd no hush-hush and wrist slapping for 
he members who violate their responsi- 
ility to fame." 

Censor boards, two of which were heard 
rom, were inconsistent in their rulings, 
n Memphis, county censor Lloyd Binford 
t first banned the film without seeing it, 
hen amended his decision to permit the 
ensor board to view the film before it 
akes action. 

In Chicago, however, Police Captain 


The Chief Is an Expert 

Harry Fulmer, censor board head, ap- 
proved the picture for showing at the 
Grand Theatre without any cuts, but took 
a swipe at Hollywood in the process. 
Making the announcement, Fulmer stat- 
ed: "It's the board's job to judge a film 
on its merits and not worry about the 
personal life of its actors." Then came 
the needle: "If we were going to delve 
into the past of every Hollywood actor, 
we'd be eliminating about two-thirds of 
all films." 

A new and dangerous precedent in cen- 
sorship was seen by the National Coun- 
cil on Freedom from Censorship, an affi- 
liate of the American Civil Liberties 
Union. Elmer Rice, chairman, warned 
that the demands of various groups for a 
ban on the picture was an "outrageous 
and illegal denial of free speech and ex- 
pression as guaranteed by the First 
Amendment." The demands, he said, 
"open new channels of censorship activi- 
ty against the personal lives of film par- 
ticipants, not the contents of the film 

RKO had no comment to make about 
the Bergman-Rossellini-"Stromboli" furor, 
beyond a studio spokesman's note that 
the Legion of Decency had told the com- 
pany that the film would be judged on its 
merits, not on the players' personal acti- 
vities. The company announced that 
"Stromboli" had been booked into some 
300 theatres for the Feb. 15th opening. 


J. B. L. (Jock) Lawrence rejoined Sam- 
uel Goldwyn productions as vice president 
in charge of public relations, publicity and 
advertising. The announcement by the 
producer tollowed on tf.e heels of Gold- 
wyn's disclosure that Lynn Farnol had 
resigned as Eastern a^ publicity head. 
Lawrence leaves his post as executive 
vice president of the J. Arthur Rank Or- 
ganization to take on the Goldwyn job. 
It was agreed by both Goldwyn and JARO, 
however, that Lawrence would continue 
to serve in an advisory capacity on public 
relations for the Rank Organization, and 
as a member of its American board of 


Creation of the MPAA's new Advisory 
Unit for Foreign Films, under executive 
director B. Bernard Kreisler, was termed 
a "welcome step" toward stimulating im : 
ports and furthering the interchange of 
commercial and cultural ideas by the 
U. S. State Department. In a letter to 
John G. McCarthy, MPAA vice president 
in charge of International Affairs, Isaiah 
Frank of the State Department's Policy 
Staff, commented: 

"It is the view of this Department that 
high levels of exports can only b? sus- 
tained in the long run through the ab- 
sorption bv this country of an increasing 
volume of imports. Your present pro : 
ject to establish an organization which 
will assist foreign motion picture pro- 
ducers in finding a market for their films 
in this country is a welcome step both 
from this point of view and from the 
point of view of promoting a greater 
interchange of ideas and culture." 
- Kreisler, newly-appointed chief of the 
unit, and one of the foremost authorities 
on foreign movie-making, lost no time 
in expediting the organization of the new 
unit and rounding up the basic data re^ 
quired to implement its services. 

Eric Johnston, MPAA president, placed 
a great deal of emphasis on the impor- 
tance of the unit in expediting reciprocal 
trade with the film industries of all 
countries and easing foreign restrictions' 
He advocated less reliance on U. S. Gov- 
ernment aid, despite the fact that the 
State Department had heeded previous 
film industry pleas and had given "very 
good support within the limitations of 
the Government's foreign trade program. 
But," he added, "this does not mean that 
we should eliminate our own efforts. We 
must constantly try by every means at 
our disposal to improve the situation.'* 

Johnston's position on this was at 
variance with that taken by Ellis Arnall,' 
SIMPP president, who had earlier madd 
a pitch for more Government help in the 
foreign situation. The MPAA head 
warned, "when the Government steps in, 
you abdicate certain rights." 

Arnall's stand was based on the prem-' 
ise that restrictions and quotas overseas 1 
were increasing. "As this pattern com 
tinues to spread," he said, "independent 1 
production falls off with resulting unem- 
ployment for many of the workers in 
our industry. We are in full accord with: 
the effort to aid the film industry in 
foreign countries, but we should not be 
unmindful of our responsibility to Am- 
erican labor. It is high time that our 
Government interests itself in insisting 
that foreign governments cease their dis- 
criminatory and prejudicial tactics 
against the American motion picture 

BUT STILL $1,125,000 IN RED 

Universal had good or bad tidings 
to report, depending on how you looked 
at it. The company's financial statement 
showed a loss of $1,125,000 for the year 
ended Oct. 29, 1949. But the brighter side 
of the picture showed a great improve- 
ment over the preceding year's p & t 
statement, wherein a loss of $3,162,000 
was registered. In addition, the company 
paid dividends on preferred stock of $270.' 
692 for the year ended last October, while 
none were paid in 1948. 

EBRUARY 13. 1950 



Rates • • • or better where exploited 

SRC (Selzniek Korda) 
104 minutes 

Joseph Gotten, Valli, Orson Weles, Trevor 
Hov.ard, Bernard Lee, Ernst Deutsch, 
Erich Ponto, Siegfried Breuer, Wilfrid 
Hyde White, Paul Hoerbiger, Hedwig 
Ble'.brreu, Frederick Sohreicker, Herbert 

Directed by Carol Reed. 

Carol Reed's "The Third Man" is one 
of the bast thrillers in recent years. Chock- 
full cf innovations, superb performances, 
deft touches, subtle nuances and excruci- 
ating suspense, this SRO release, with its 
American stars, can look forward to en- 
thusiastic audiences and mounting returns 
that should far surpass Reed's earlier re- 
cent triumphs, "Odd Man Out" and "The 
Fallen Idol." Aside from its marquee 
strength, this latest Reed masterpiece tops 
the others in quality, in mass appeal and 
in general production excellence. Filmed 
in post-war Vienna, "The Third Man" is 
always master of its backgrounds, never 
letting the latter overpower it, as hai 
been too often the case in other films pro- 
duced overseas. It is, first and foremost, 
the director's picture. Working with 
writer Graham Greene's screen play, Reed 
makes his camera a living thing, ferreting 
its prey, both human and inanimate, and 

making it tell a story in terms that will 
make the discriminating appiaud the 
sheer artistry, while those who miss the 
more subtle touches will still be enthrall- 
ed by the tense proceedings. The pro- 
ducer-director has added another innova- 
tion — a musical accompaniment played 
by oniy one instrument, an Austrian zither 
that reacts uncannily to every turn of 
plot and adds immeasurably to the mood 
of the film. 

Joseph Cotten gives the most polished 
portrayal of his career as the bewildered 
American who becomes the instrument in 
the death of his erstwhile friend, Orson 
Welles. The latter does not appear until 
late in the film, but makes every moment 
a gem of characterization, his most sub- 
dued and his most effective screen work 
to date. Allida Valli also does her finest 
work in American films. Trevor Howard 
is excellent as the head of police, while 
Bernard Lee, Ernst Deutsch, Paul Hoer- 
biger and Hedwig Bleibrreu all contribute 
oortrayals to delight even the most exact- 
ing of critics. 

The Reed touches are so numerous and 
fleeting that the onlooker may miss many 
of these evidences of true film artcraft. 
A bouncing ball, a French policemen's 
reminder to his captive of her lipstick, a 
kitten purring and licking a man's shoes, 
a laughing child leading a murderous mob 
- all these are but a few evidences of 

Reed's genius. The whole is highly remi- 
niscent of — and often better than — the 
early Hitchcock epics of suspense His 
climactic chase in Vienna's vast network 
of sewers will have the audience hanging 
on to the edge of their seats. 

"The Third Man" has already won the 
British "Cscar" as top film of 1949. We 
wou'.dn't be a bit surprised to see it come 
off similarly in the U. S. for 1950. 

STORY: Joseph Cotten, American 
popular fiction writer, comes to Vienna to 
take a job at behest of his friend, Orson 
Welles, only to find that the latter has 
ostensibly been killed in an auto acci- 
dent. Circumstances surrounding his 
death lead Cotten to probe more deeply 
and involves him with a black-market 
of v;hirh. he learns from British 
police chief Trevor Howard, Welles was 
head. He meets his friend's sweetheart, 
Va li, and 1 ith her aid, uncovers more 
evidence that Welles was a ruthless pro- 
fiteer whose traffic in penicillin had maim- 
ed and unbalanced mentally children suf- 
fering from meningitis. Cotten discovers 
that Welles is alive, that a man murdered 
bv the pan? had been buried in his place, 
and offers Howard his help in capturing 
Welles. With Cotten as bait, Welles is 
trapped, but succeeds in escaping to the 
underground network of sewers. There, 
he is cornered and killed by Cotten. 


Rates • • • generally 


100 minutes 

Clark Gable, Loretta Young, Frank Mor- 
gan, Marilyn Maxwell, Raymond Burr, 
Jsmes Gleason, Lewis Stone, Raymond 
VValburn, Pamela Britton, Zamah Cun- 
ningham, Clinton Sividberg, Marion Mar- 
tin, Bert Freed, Emory Parnell, Claia 

Directed by George Sidney. 

Hurrah! This is the kind of Gable (after 
too long a lapse) that his fans jove. And 
it's our bet that "Key to the City" will 
out-gross any picture he has made since 
the war. As a virile two-fisted mayor of 
a fair-size town, with an unconventional 
rough-house manner of handling corrupt 
politicians and a roughly tender way of 
making love, Gable has the type of role 
that will highly please the male as well 
as the distaff faction of moviegoers. 
"Key to the City" is a romantic farce with 
political overtones, and it has a well-bal- 
anced variety of slapstick, satirical and 

clever situations and lines. The action 
moves at a rapid pace as director George 
Sidney fully capitalizes Robert Crutcher's 
screenplay, particularly the portious 
which deal delightfully with the phony 
hospitality and mercenary motivations of 
a convention city and its inhabitants. It's 
a lively show, really diverting entertain- 
ment, and audience response will reflect 
this opinion. Boxoffices will hum in all 
situations. Gable hits the bullseye with 
his portrayal, while Loretta Young makes 
an ideal foil as the straight-laced mayor 
frnm Winona, Maine, who cavorts with 
him at the mayors' convention in San 
1- rancisco. Fine support is furnished by 
such competents as Frank Morgan, Ray- 
mond Burr and Lewis Stone. 

tiiORY: Clark Gable and Loretta 
Young meet at a mayors' convention in 
San F rancisco where both are represent- 
ing their own home towns. After several 
i jiop : episodes and entanglements with 
the San Francisco police force, Miss 
Young, prim niece of nationally respected 

circuit court judge Lewis Stone, tricks 
Gable into proposing to her. While their 
background differences, which come be- 
tween them, are being ironed out, Gable 
learns that Raymond Burr, hatchet man 
for the opposition machine, is steamroll- 
ering a Gable-vetoed bill through the city 
council in the mayor's absence. With the 
aid of Marilyn Maxwell, an atom dancer 
who is peeved at Gable because he drop- 
ped her in favor of Miss Young, Burr 
threatens to force Gable's recall by show- 
ing the people photographic evidence of 
their mayor's scandalous behavior at the 
convention. A battle royal ensues in 
Gable's office, with the mayor engaging 
Burr in a set-to with wicked-looking long- 
shoreman's hooks, while Miss Young de- 
monstrates her mastery of judo on the 
surprised Miss Maxwell. Burr is tossed 
into the fishpond — standard punishment, 
it is intimated, for all who cross the 
mayor's path — and the councilmen and 
the citizenry look on approvingly as 
Gable and Miss Young clinch. TAYLOR. 


Rates • '• • — in action houses on Bogart name; less elsewhere 

Warner Bros. 
94 minutes 

Humphrey Bogart, Eleanor Parker, Ray- 
mond Massey, Richard Whorf, James 
Brown, Roy Roberts, Morris Ankrum, Fay 
Baker, Fred Sherman. 
Directed by Stuart Heisler. 

Humphrey Bogart, a good title and some 
exciting aerial scenes are the principal 
assets of "Chain Lightning." These are 
pitted against a trite and unconvincing 
screenplay, uneven direction and a slow- 
paced first four reels to make for an in- 
termittently suspenseful drama about the 
development of jet planes. Action fans 

will find the first half of "Chain Light- 
ning" pure squirm fodder, except for the 
opening sequence depicting a daylight 
bombing mission over Germany during 
the war. For what seems an interminable 
time, a mooning Bogart is involved in a 
synthetic romantic triangle with Eleanor 
Parker and Richard Whorf. The first real 
spark of excitement isn't set off until the 
film is half over and Bogart settles down 
to the stirring business of test-flying jet 
planes. Here, however, the film is liter- 
ally galvanized into action with a tense 
(light from Nome over the North Pole to 
Washington as a Bogart-piloted jet hur- 
tles at a 1400-mile-per-hour pace 80,000 
feet over sea level. Drama, too, comes 

into its own as Whorf loses his life in a 
test Bogart should have made, and the 
film is climaxed with a pulse-pounding 
finale which sees an entire cockpit shot 
out of a jet plane in a thrilling parachute 
descent. Perhaps the latter-half pickup 
will carry "Chain Lightning" to satisfac- 
tory public response, but it does not, in 
this reviewer's opinion, negate the early 

The role played by Bogart utilizes few 
of the talents which brought him to the 
top. His name, however, will make the 
difference between mediocre returns earn- 
ed by the film's over-all entertainment 
quota and a good boxoffice attraction. Ac- 
tion spots will see the best grosses, of 



course. Elsewhere, business will vary in 
proportion to the Bogart popularity in 
individual situations. 

Performances are good generally, with 
Bogart carrying the ball for the most 
part, ably assisted by Miss Parker, Whorf 
and Raymond Massey. Ernest Haller's 
photography is a highlight, particularly 
in the air shots. Anthony Veiller's pro- 
duction values are of superior quality, 
working hand-in-hand with Air Force co- 

STORY: Pilot of a Flying Fortress in 
England in 1943, Bogart takes airplane 
designer Richard Whorf on a daylight 
bombing mission to display the defects in 
the bomber. They witness a strange en- 

em y aircraft v\hich Whorf identifies as a 
jet-propelled plane. Upon their return, 
Whorf meets Red Cross worker Eleanor 
Parker, Bogart's girl. Their marriage 
plans are called off when Eogart is re- 
called to the States and they lose contact 
with each other. After barnstorming 
with air circuses and other knockabout 
jobs, a destitute Bogart meets an old 
buddy ar.d is given a test pilot job by 
plane manufacturer Raymond Massey due 
to the efforts of his secretary who turns 
out to be Miss Parker and Whorf, his de- 
signer. In an effort to make a quick 
sale of his jet planes to the Army Air 
Force before they are made obsolete by 

a new life-saving pod to eject both pilot 
and cockpit, Massey and Bogart cook up 
a sensational flight in which the resultant 
publicity will force the Army to purchase 
th? planes already built. Bcgart success- 
fully makes the flight, but Whorf in an 
endeavor to prove the new plane's worth 
before Bcgart lands, takes it up himself 
and is kl led when the pod is jammed 
during the ejection, but leaves a message 
recorded in his death plunge which shows 
up the defect. Bogart, contrite now, takes 
the new plane up despite Massey's orders 
and makes the test successfully, landing 
in the ejected pod via parachute, to be 
reunited with Miss Parker. BARN. 


Rates • • + generally; slightly more in action houses 


87 minutes 

Robert Taylor, Elizabeth Taylor, Robert 
Flemyng, Harold Warrender, Honor 
Blackman, Marjorie Fielding, Thora Hird, 
Wilfred Hyde-White, Marie Ney, Jack Al- 
len, Helen Haye, Cicely Paget-Bowman, 
Karel Stepnaek, Nicholas Bruce, Cyril 

Directed by Victor SaviUe. 

"Conspirator" emerges as another time- 
ly, if routine, cloak-and-dagger melodra- 
ma exposing Soviet spies in important 
positions within the British high com- 
mand, a currently "hot" subject. Pro- 
duced by Metro, in England, this story 
conveniently coincides with recent sensa- 
tional newspaper banners, but, unfortu- 
nately, does not meet their note of high 
excitement. However, it is a fairly sus- 
penseful tale of love versus Communist 
party discipline, and it features the mar- 
quee magnetism of Robert Taylor and 
Elizabeth Taylor. These selling points 
should reap satisfactory grosses in the 
majority of theatres, strongest in action 
houses. The script, by Sally Benson and 
Gerard Fairlie, although it lacks original- 
ity, has the distinction of having handled 
the topic of communist espionage with 

more-than-average intelligence. It shies 
away from the traditionally wild-eyed car- 
icature of the bomb-laden, bewhiskered 
radical, portraying the party members as 
the determined, idealistic workers-for-the- 
Soviet-cause which experience has found 
them to be. However, the plot's denoue- 
ment seemed too pat and over-simplified, 
an unfortunate development considering 
the major-league caliber of the screen- 
play up to that point. 

In the starring assignment, Robert Tay- 
lor is properly moody and romantic as 
the traitor whose childhood mania for 
cloak-and-dagger activities led him into 
becoming a vital cog in the party struc- 
ture in England, and whose marriage ends 
his usefulness to the cause. In the role 
of an innocent, vivacious young beauty 
who is completely bowled over by the ir- 
resistible charm of the handsome officer 
of the Royal Guards, beautiful Elizabeth 
Taylor begins to show promise of reaching 
maturity in acting ability. After a rather 
slow start, Director Victor Saville man- 
ages to get the film moving at a nice clip, 
but his direction, for the most part, is 
prosaic. John Wooldridge's musical back- 
ground lends an assist to the suspense. 

STORY: Elizabeth Taylor meets Major 
Robert Taylor while visiting her English 

cousin, Honor Blackman. Marriage fol- 
lows a whirlwind courtship, but Elizabeth 
is stunned by the discovery that her hus- 
band, an officer of the Royal Guards, is 
an extremely valuable and loyal member 
of the Communist Party and is delivering 
hignly important information to party 
agents in London. Taylor promises to 
resign from the party, but he continues 
to work for the Soviet government. When 
he informs his superiors that Miss Taylor 
knows about his traitorous activities, they 
order him to liquidate her, since it is too 
dangerous for anyone outside the party to 
know his secret. Taylor tries to carry 
out his orders, but bungles the job. Real- 
izing that he is continuing his work and 
that he intends to kill her, Elizabeth leaves 
him and tells her cousin, who notifies the 
proper authorities. Meanwhile, Taylor 
has been told by the communists to liqui- 
date himself. He commits suicide as the 
British police are closing in on him. His 
wife is told that the British Intelligence 
knew all a'ong about her husband and 
were secretly u: ing h : m for their own 
needs. His identity as a spy, therefore, 
is to be kept secret, with Miss Taylor 
bravely bearing the blame for Taylor's 
suicide — because she supposedly had left 
him. TAYLOR. 


Rates • • • — in action houses; slightly less elsewhere 

104 minutes 

John Payne, Rhonda Fleming, Dennis 
G'l .oefe, Thomas Gomez, Fred Clark, 
Frank Faylen, Eduardo Noreiga, Grandon 
Rhodes, Margaret Martin, Walter Reed. 
Directed by Lewis R. Foster. 

"The Eagle and The Hawk" is an his- 
torical tale of the intrigue and treachery 
which dominated Mexico and Texas dur- 
ing the Civil War, and it can be listed as 
superior fare in its class, a surefire draw- 
ing card for action situations everywhere. 
With proper exploitation, this Pine-Tho- 
mas' Technicolored offering should rate 
top billing in all but the class houses. 
Although a bit overlong (104 minutes) 
for the comfort of the discriminating 
feminine trade, it is a commendably 
ambitious offering based on the factual 
attempt by Napoleon III to establish Max- 
imilian as emperor of Mexico while the 
United States was occupied by its inter- 
nal struggle. Productionwise, the motion 
picture makes handsome use of natural 

backgrounds, beautifully hued by Tech- 
nicolor, and it boasts a well-balanced cast. 
The meatier assignments go to John 
Payne and Dennis O'Keefe, both excellent- 
ly cast as agents for the Confederacy and 
Union, respectively, working together 
against a common enemy. The photogenic 
and lovely Rhonda Fleming has a com- 
paratively minor role as the wife of the 
villainous agent for the French in Mexico, 
but she acquits herself impressively and 
attractively. Thomas Gomez is familiar 
as the Hawk, an ignorant Mexican gen- 
eral who has been duped by the enemies 
of his idol, Juarez. The handling of the 
directorial chores by Lewis Foster, who 
collaborated with Geoffrey Homes on the 
screenplay, seems to have been influenced 
by a hearty respect for the effectiveness 
of fire on the Technicolored screen, since 
no less than three blazing sequences make 
this film a pyromaniac's delight. 

STORY: With the aid of the governor 
of Texas, Northern intelligence agent Den- 
nis O'Keefe is smuggled over the Rio 
Grande to find out what becomes of ship- 
ments of arms and ammunition intended 

(More Reviews on Page 38) 

for, but which never reach, Mexican presi- 
dent Juarez. Even though Texas Ranger 
John Payne is a loyal Confederate, the 
French threat to his beloved state's inde- 
pendence justifies his cooperation with 
the Yankee agent. The two men discover 
a warehouse full of the stolen munitions, 
plus powder and rifles from France, on 
the ranch of Fred Clark, who is supplying 
a peasant army led by Juarez' supporter, 
Thomas Gomez. The guns are also meant 
for his own group of exiled American out- 
laws, whom he is training to help take 
over Texas while that state is busy bat- 
tling the Union armies. Gomez doesn't 
realize Clark is plotting with the French 
to make Maximilian puppet emperor of 
Mexico. While trying to convince Gomez 
that Juarez is being doublecrossed, 
O'Keefe is killed, his violent death coming 
as he is helping Payne escape being torn 
to pieces by wild horses. When Gomez 
realizes Clark is working against Mexico, 
he and Payne chase the renegade to a 
fiery finish on a burning mountain, with 
Gomez giving his own life while Pavne 
helplessly looks on. TAYLOR. 

FEBRUARY 13, 1950 



ft ^ 


In its first 21 

60% more tli 
picture re lea* 
last 3 years? 


has grossed 
in any RKO 
td during the 



Francis' Ad Set-up Hits un All Cylinders 

"ONE OF THE SEASON'S SURPRISE film comedies . . . with a hilarious 
succession of belly-laughs" is the way the FILM BULLETIN review describes 
"'Francis". Therein lies the basis for an exploitation plum that can make ex- 
hibitors wide-eyed when they view the box office results, providing they use 
any one or a combination of the three-pronged ballyhoo campaign devised by 
Universale ad-exploiteers under chief David A. Lipton, ad-director Hank Line! 
and exploitation topper Charlie Simonelli. The triple-threat approach, exem- 
plified in the series of ads reproduced below, represents one of the most in- 
tensive and effective jobs in this field for a comparatively unheralded film in 
years. The showman who doesn't take advantage of this boxoffice boon is 
passing up an excellent bet for profits and public relations promotion — the 
kind that gets right at the roots of the industry's ailing PR — a truly enjoy- 
able picture that will leave the moviegoer in a good mood and set his or her 
tongue wagging. 

Founded on the unorthodox premise of an army mule that talks, "F rancis"" 
is a comedy utilizing freshness and imagination. Entertaining Army comedies 
have earned a nit he in the Hall of Flits as box office sweethearts. So approach 
No. 1 is the tie-in with great Army comedies of yesteryear and Universal has 
done a bang-up job of emphasizing this facet both in the ads and in the pub- 
licity divisions. In addition to the display ads, there are five teasers to tee 
off the advance campaign. 

Angle No. 2 is the "surprise picture'' selling, another tried and proven 
merchandising approach where the picture backs up the promise. Here again 
we have an eye-catching ad display, with four teasers in this category. 

Item No. 3 is the testimonial tack. No less than 15 top funny-men and 
-women have sung the praises of "Francis", and their comments have been 
recorded in a series of 15 teaser ads, as well as the full-sized displays to make 
both entertaining and ticket-selling copy. 

The theme and characters are also excellent fodder for the exploitation 
mill. The press book suggests such ideas as novelty balloons shaped like 
mules, available to showmen at low cost; tie-ups with veterans' groups ("a lot 
of good-natured kidding of Army red-tape that will panic the veterans," says 
the FB critique!: "pin-the-tail" games, animal sounds contest, mascot com- 
petitions, an inquiring reporter on "Your Most Interesting Experience with 
Animals", and "fantastic" experiences, are all effective stunts. 

The varied ad approach, the ballyhoo possibilities, and most certainly the 
knowledge that he will have a satisfied audience, are all factors that should 
egg the showman to maximum effort in selling "Francis" to his customers. 




Wr honc.ll> m-'w 


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wryonr nhou ld kno* bImmii! 

In our humble- opinion TnoHt" 
i. ihr pale* comrd) lo cone 

out <>f (In- Hjr -period. 

Bui ihr MTJ nn*-l linn- iboul 

tl»- picture u liul do nutter 

pom ihr **jr iflrctcd you 

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your heart * ilh il- Ij-Iim- 

laughter . and w iih ita witndrr* 

till wnriilirfillb -li.rv 


H\\ COLLI.** join »MNTIR» 

MAT No 305 


The newspaper ad* 
for "Francis" are an 
example of superb 
planning. Three sep- 
arate and distinct ap* 
proach s have been 
tackled by the U-I ad 
staff with the result 
that the theatre-man 
can be assured of 
reaching his audience 
in a variety of ways. 
Each of the angles ig 
treated with real eye- 
inten st and intriguing 
copy. No less than 15 
teasers are available 
on just one of the 
angles, and the others, 
while quantitatively 
less, are just as potent 
in catching the audi- 
ence's eye and fancy. 

In addition to these 
thro ; slants, there are 
several other ads that 
will perk up the mo< 
viegoer's interest. Among these is one especially 
set up for U-I's new run-of-paper ad policy to 
supplement thb movie-page copy and attract the 
curiosity of those who ordinarily do not turn to 
the amusements section. The copy (see above) 
is especially suited to the off-th> -movie»page type 
of ad. The ad pictured above is three-columns X 
16 inches. A smaller '2-col.) ad, also suitable for 
run-of-paper insertion, is available in a nine-inch 

U-I's exploitation department has prepared a 
special kit packed with ticket-selling ideas to sup- 
plement th ; newspaper copy. This can be ordered, 
without cost, from the home office. 

,«, ,om. out of A'« Wo" 

Donald O'Connor discusses the plan of attack ivith Francis, the talking mule, ivhose reconnoilering in the Burmese jungle has spotted Jap positions. 


War. with all its horrible aspects, paradoxically has 
•voked some of the funniest movies. Such funnyhone clas- 
ics as "Shoulder Arms" in 1918; "Behind the Front" in 
[926; "The Cockeyed World" in 1929; "Caught in the 
Draft" and "Buck Privates" in 1941 ; "See Here, Private 
largrove" in 1944, to mention a few, still provide lucra- 
ively titillating memories for exhihitors. Even such seri- 
>us films as "The Big Parade", "All Quiet on the Western 
ront" and "Battleground" had abundant comic interludes 
vhich helped make them successful. Now comes another. 
Francis", Universal-International's comedy about a talk- 
ng mule, which bids fair to enter the hallowed list of fun- 
Ims about Army life. 

"Francis" tells about a sad sack second looie. Donald 
)'Connor, who gets lost in the Burma jungle and is rescued 

by an Army mule, Francis, who talks. Since the animal 
looks just like any other mule, he reconnoiters. gets valu- 
able information and passes it on to O'Connor who finds 
himself fluctuating between hero decorations and the psy- 
chopathic ward, due to Francis" efforts and O'Connor s at- 
tempts to convince his superiors as to the source of his 
information. The hilarities mount as the general and his 
aides also hear the animal's articulations and O'Connor is 
vindicated, only to be reunited with Francis after both are 
shipped to the U. S. to begin the complexities all over 

Although Francis i> of a species which cannot repro- 
duce itself, it is a distinct possibility that the miracle thai 
is Hollywood can overcome this minor metabolical handi- 
cap and make a sequel to "Francis" that should he good 
for another bellyful of laughs. 

Chaplin in "Shoulder inns." 1918, The famous gum scene from "Big Pa- McLflgl n Si I. one as Sgt. Quirt anil "Buck Privates" in 1941 un-ort 
first of the successful ivir comedies. rad ," John Gilbert and Renee Adoree. Capt. Flagg in "What Price Glory." a of gol I dust twins for I 

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Screenplay by Harry Brown-James Edward Grant • Story by Harry Brown 



Opinion* C uf/ej from Organization 


Allied ITO of Iowa-Nebr. 

Telegram sent to Hon. Tom Martin, 
Congressman from Iowa and our only 
Member of the House Ways and Means 
Committee, Washington, D. C: 

At a joint meeting of Iowa and Nebras 
ka motion picture theater owners includ 
ing the Allied Independent theatre owners 
of Iowa and Nebraska, Central States, Tri- 
States and Pioneer Theatres, this combin- 
ed group, representing all towns both 
large and small in the States of Iowa and 
Nebraska unanimously resolved that the 
theatre owners of Iowa and Nebraska 
recognize that all monies paid by patrons 
for admission taxes belong to the people. 
Therefore the theatre owners of Iowa and 
Nebraska will pass on to their patrons any 
repeal or reduction of the 20 percent war- 
time excise admission tax by the 81st Con- 
gress of the United States. We pray you, 
Mr. Martin, to do ail in your power to 
assist in this war-time tax relief. 

The telegram was signed by Allied In- 
dependent Theatre Owners of Iowa and 
Nebraska, Central States Theatres, Tri- 
States Theatres and Pioneer Theatres and 
-copies were given to the AP and Des 
Moines Register, resulting in good news 
stories the following morning. After this 
action the Board meeting adjourned. 

We have now received the following 
reply from Congressman Martin: 

Dear Friends: Thank you very much 
for vour telegram of January 17 urging 
the repeal of the War-Time Excise Admis- 
sion Tax. I am in strong agreement with 
your views regarding this matter and I 
am glad to have your telegram available 
for my reference and use. Again thank- 
ing you for your cooperation in wiring 
me and with best wishes I am, Sincerely 
Yours, (s) Thos. E. Martin. 

It's just too bad there are several 
hundred other Congressmen and Sena- 
tors who must also be "in strong agree- 
ment" about these taxes before they are 

You, and every member of this indus- 
try will be given your particular job in 
this Federal admission tax battle in a 
short time. We understand the over-all 
campaign has been mapped out and that 
we will each be furnished instructions 
and material for our job by the Compo 
Tax Committee to insure a coordinated 
drive. This is once we can't wait for 
George to do it. For the good of the 
future of your business, we urge you — 
do everything you are asked to do, and 
do it fully, quickly and willingly! Re- 
member, the squeaking wheel gets the 
attention — squeak, brother; long and 

* * * 


Associated Theatre Owners 
of Indiana 
The sordid Bergman - Rossellini affair 
has dealt the motion picture industry a 
severe blow. The responsibility for that 
affair rests directly on those persons in 
the industry who in the past have failed 
to properly police and discipline errant 
s tnrs 

However, Mr. Exhibitor, the public 
places the blame directly on the theatre 
owner's shoulders. I don't care to shoul- 
der that blame. I know that by a do- 
nothing attitude I accept that blame. I 
also accept ultimate defeat in every is- 
sue attacking theatres. I don't care to 
accept that blame or that defeat. I don't 
want to alienate at this time of the all- 


You may recall that O. F. Sulli- 
van, who spoke on drive-ins at our 
Fall Convention, speculated that it 
could be that the outdoor theatres 
were right in all their innovations 
and perhaps the indoor operator 
had better check up to see what 
extra services he could furnish. We 
observe in the program of Mr. Sul- 
livan's beautiful new 1250 seat 
Crest Theatre in Wichita, Kansas, 
that among many other unusual 
features is a large, well-equipped 
nursery with a trained nurse on 

— ATO of Indiana. 

out fight to remove discriminatory excise 
taxes the support of civic groups. 

In our towns we have run half-page 
ads and have told our theatre patrons 
that the picture STROMBOLI will not 
be shown in our theatres. No more can 
an exhibitor hide behind block booking 
as an excuse for licensing a picture such 

Mr. Exhibitor, think well before you 
take a do-nothing attitude. The eyes of 
your patrons are on you. The futu.e of 
your business and your standing in your 
community is at stake. 

— Trueman T. Rembusch, 


* * * 


Allied Theatres of Michigan 

"Do unto others . . ." 

The Basis of Brotherhood 

Christianity: All things whatsoever ye 
would that men should do to you, do ye 
even so to them; for this is the Law and 
the Prophets. (Matthew, 7, 12.) 

* # jf, 

Judaism: What is hateful to you, do 
not to your fellowman. That is the en- 
tire Law; all the rest is commentary. 
(Talmud, Shabbat, 31a.) 

* * # 

Brahmanism: This is the sum of duty: 
Do naught unto others which would 
cause you pain if done to you. (Mahab- 

harata, 5, 1517.) 

* * * 

Buddhism: Hurt not others in ways 
that you yourself would find hurtful. 

(Udana-Varga, 5, 18.) 

* * * 

Taoism:: Regard your neighbor's gain 
as your own gain, and your neighbor's 
loss as your own loss. (T'ai Shang Kan 
Ying P'ien.) 

* * * 

This great industry of ours has again 
been called upon to assist in the drama- 
tization of Brotherhood Week. This 
movement is under the sponsorship of 
the National Conference of Christians 
and Jews and has been set for the week 
of February 19-26. 

There have been six major objectives 
set for this year: (1) Ten memberships 
per theatre in the National Conference 
of Christians and Jews at $1.00 per mem- 
bership; (2) Special Brotherhood ob- 
servations in theatres; (3) The use of 
display materials for the wide promotion 
of this cause; (4) Greater use of special 
newsreel clips; (5) Brotherhood "Chap- 
ters" formed with theatres the focal 
point and (6) "Brotherhood Week" to be 
made a community event in the finest 

Every exhibitor should support to the 


fullest this campaign which, as explained 
above, is being sponsored by an organi- 
zation of religiously motivated people. 
Their purpose is to bring about better 
understanding between men, the removal 
of religious differences and the under- 
standing of those problems of life which 
affect every man regardless of his race, 
creed or color. Believing that the secur- 
ity of America and the continuation of 
American principles is dependent upon 
the efforts of all men, this organization 
goes steadily forward. We know that 
you will exert every effort to assist in 
this campaign. 

National Screen Service, in its anxiety 
to be instrumental in the furtherance of 
this objective, will send every theatre in 
the country a Campaign Kit. Use it for 
the service of all mankind. 

* * * 


Allied Theatres of Michigan 

A substantial number of Michigan ex- 
hibitors responded to our questionnaire 
which was distributed on November 16th, 
1949. This questionnaire was regarding 
the sales policies of the eight major com- 
panies. Below is the breakdown for your 
consideration and we recommend that 
you keep this information in mind for 
your guidance on future negotiations on 

"Fairest" Company: Group A: Fox, 
47%; Metro, 27%; Warners, 18%; RKO, 
4%; Paramount, 4%. Group B: Colum- 
bia, 65%; Universal, 22%; UA, 13%. 

"Toughest" Company: Group A: RKO, 
10%; Fox, 17%; Warners, 20%; Metro, 
23%; Paramount, 30%-. Group B: Col- 
umbia, 6%; UA, 39%; Universal, 46%. 

Refuse to Sell Pix Unless Others Are 
Bought: Group A: Fox, 2%; Metro, 7%; 
RKO, 22%; Paramount, 33%; Warners, 
36%. Group B: UA, 16%; Columbia, 
26%; Universal, 58%. 

Relative to that portion of the poll 
which questions "Do any of the above 
companies refuse to sell you pictures un- 
less you buy certain other ones?", we 
would say that all of the companies ap- 
pear to be disregarding the decision of 
the U. S. Supreme Court in this activity. , 
On this particular question, we are pre- 
senting a resolution which National Al- 
lied adopted at the Minneapolis Conven- j 

"This organization has many times ad- I 
vised its regional units, who in turn, have 
advised their members that what is 
known as FORCING the sale of either 
features or short subjects, commonly 
termed 'tie-in-sales' is illegal and has been 
definitely banned by the Supreme Court 
of the United States. 

"This organization has also been re- 
liably informed that the main offices of 
every film company have given similar 
orders to their branches and to their 
sales forces. 

"If, in spite of this, any exhibitor mem- 
ber of our organization is compelled in 
any way, or through any 'gimmick' to 
buy product of any kind from any film 
company that he does not want, he has 
only one duty, and one duty alone, and 
that is to write his local organization 
stating the facts simply, but in full. 

"If necessary, the local organization 
having exhausted its resources will carry 
the matter to our national headquarters 
for action." 

We call your attention to paragraph 
two and do know positively that some of 
the companies have issued definite orders 
against this practice. 




Behind the Scenes of Film Production 



PRODUCTION has been at a virtual 
stand-still here for most of the time 
since the first of the year, and Columbia 
will have to draw heavily on its backlog 
of pictures completed during 1949 to ful- 
fill its releasing commitments for the 
first eight months of the new year. In 
all, Harry Cohn and Associates plan to 
distribute 32 films between now and the 
end of August ■ — five more than were re- 
leased by the company during the same 
period a year ago. 

Among the forthcoming releases are 14 
alleged high-budgeters, 15 low-budgeters, 
three Gene Autry sagebrushers, and one 
serial. The first releases, all to go out 
this month, are: "Father Is A Bachelor," 
"Mule Train" and "Trail of the Rustlers." 
March will also call for three releases: 
"No Sad Songs For Me," "The Palomino" 
and "Code of the Pony Express." For 
April: "A Woman of Distinction," "Cargo 
to Capetown," "Tyrant of the Sea," "Mili- 
tary Academy" and "Outcast of the Black 

Five In May 

May releases will be: "Kill the Umpire," 
"Fortunes of Captain Blood," "Cow 
Town," "Beauty on Parade" and "Cus- 
toms Agent." June will have five releases, 
including one serial. The others are: 
"The Killer That Stalked New York," 
"David Harding, Counter-Spy," "Hoe- 
down," "Texas Dynamo," and the serial, 
"Atom Man vs. Superman." July outgo 
will, include: "Rogues of Sherwood For- 
rest," "In A Lonely Place," "Beyond the 
Purple Hills," "On the Isle of Samoa" 
and "State Penitentiary." And for Au- 
gust: "Petty Girl," "One Way Out," "He's 
a Cock-Eyed Wonder" and "Streets of 
Ghost Town." 

In an important new contract negotia- 
tion, Harry Cohn has just signed Joan 
Harrison to a new producer's pact. Miss 
Harrison has just returned from England 
where she produced the Robert Mont- 
gomery starrer, "Your Witness." By the 
time this reaches print, Miss Harrison 
should have reported to the studio to line 
up her chores. 



TT'S BEEN a long, hard pull but, judg- 
ing from information this department 
garnered from William J. Heineman and 
William MacMullen, Jr., during their re- 
cent west coast visit, it looks like Eagle- 
Lion will manage to keep its head above 
water and has a reasonably good chance 
to re-establish itself as a formidable re- 
leasing organization. However, as for a 
production outfit, it appears that this 
phase of the company's operations will 


Why Make Lulls? 

We find ourselves in radical dis- 
agreement with the current policy 
shaping; up among major motion 
picture companies to slant their 
quality releases toward the so-called 
"peak holiday boxoffice," with the 
mill-of-the-run product to be slough- 
ed off during the lull periods. 

Although no cne has been able 
to clearly define their reasoning on 
the matter, the New York business 
heads who arrange the flow of their 
respective company's output have 
somehow reached the conclusion 
that the peaks and lows of movie 
business will be more marked dur- 
ing the current year than ever be- 
fore. As a result, they have set all 
of their Technicolor and other top- 
bracket productions to go out on the 
five or six holiday crests of the year, 
with the light-weight product set to 
fill in the gaps — particularly during 
the dull summer months. 

According to their time-table, 
grosses are going to hit rock bottom 
between now and the Washington- 
Lincoln birthday period, when they 
will again head upward. Business 
will then go into another slump and 
not show any appreciable gains un- 
til Easter, at which time the releas- 
ing companies will again flood the 
market with their top product. From 
(here on out, they see nothing but 
gloom until the summer heat has 
passed, and accordingly will with- 
hold any releases of consequence 
until another holiday boom picks up 
the boxoffice. In brief, they seem 
to be creating lulls in the business. 

Consider, for a moment, the re- 
action of the dyed-in-the-wool movie 
fan who goes to pictures week in 
and week out, in summer and winter, 
on holidays and on working days. 
Doesn't it stand to reason that his 
ardor for movies may cool somewhat 
during these long periods when his 
favorite first-run theater has nothing 
to offer but the "slough-offs" that 
studios must necessarily dispose of? 
And doesn't it stand to reason that 
he, too, may join the rapidly grow- 
ing ranks of "occasional movie- 
goers" out of sheer disgust? 

If business is to thrive, the indus- 
try must maintain a high standard 
of product the year around. Nothing 
can be more harmful to the indus- 
try than that oft-repeated criticism 
we've all heard: "There's nothing 
worth seeing in town." If only one 
quality picture can be kept in the 
first-run theaters at all times, it 
helps to keep up favorable talk 
about movies — and that's of prime 

Isn't it about time for the exhibi- 
tors to make that point clear to the 
distributors? JAY ALLEN. 

have to wait for a while — perhaps as 
much as a year. 

The company toppers say their organi- 
zation is now in the market for inde prod- 
uct and can offer substantial financial 
backing for outfits who come up with 
good propositions. Furthermore, both 
Heinemann and MacMullen predicted 
that the company would show an increase 
over 1949 of from 20 to 50 percent in 
grosses for the current year. 
At Least 69 Features 

Announcing that E-L will release a 
minimum of 69 pictures during the pre- 
sent calendar year, Heinemann declared 
that he was searching for further produc- 
tion packages which may swell the total 
even further. He pointed out that the 
company has rounded up fresh bank 
money never before interested in motion 
picture financing, and indicated that still 
further negotiations were on with addi- 
tional banking interests. 

The aim of E-L is to :nake :tself wholly 
independent so that it will not drain funds 
from other companies in Pathe Indus- 
tries, Ltd. With its revolving fund of 
over $1,000,000 for use in financing and 
the other financial arrangements, they 
expect to have a constant flow of top 
product throughout the year. Heinemann 
further pointed out that the average 
number of bookings for E-L product had 
now reached 8,000, with the number 
steadily increasing. 

Commenting on the current backlog, 
Heinemann declared that the company has 
what he considers a particularly .strong 
line-up ready for release. He expects 
"Guilty of Treason" and "Destination, 
Moon" to be the two strongest pictures 
for the first six months' release. He anti- 
cipates in excess of $500,000 gross from 
the first showings of "Guilty of Treason" 
on seven eastern circuits alone. 




T'S BECOMING increasingly evident 
that Dore Schary intends to allow 
neither lagging boxoffices, television 
threats nor high production costs to stand 
in his way in pushing his company to 
the fore, insofar as heavy production is 
concerned. Within the next two or three 
weeks, the aggressive production head of 
MGM will announce the greatest long- 
range production program in the com- 
pany's history — a slate of approximate- 
ly 70 films to be made over a 21-month 
period, beginning the first of April. 

Schary and his assistants have been 
quietly charting this huge program for 
several months, unmindful of the hesi- 
tance of other studio heads to forge 
ahead in these uncertain times. One rea- 
son for his confidence, undoubtedly, is 
the success of the giant program that is 
now winding for the 1949-50 fiscal year. 
It is understood from reliable sources 
that several of the features on the cur- 
rent slate are far exceeding grossing es- 
timates since their release. This group 
includes "Battleground," "On the Town," 
(Continued on Page 32) 

FEBRUARY 13, 1950 


'FRANCIS is one of the 
most delightful come- 
dies I've ever seen. Only 
two actors could've 
played the part . . . 
Francis and Jack Benny 
...and I'm glad the one 
with the talent got the 


Radio and icrHn star 

"Don't miss FRANCIS! It 
has more laughs than a 
dozen ordinary come- 


CSS and icrttn star 

'FRANCIS is a riotous pic- 
ture. I was in happy 
hysterics all the way 


CBS and screen star 

'We have never gotten 
more laughs out of a 
movie either collectively 
or separately and we 
have laughed a lot in 
our time." 

edgar bergen & 
charlie McCarthy 

CSS stars. 

"For the first time in my 
life I agree with Fred 
Allen . . . FRANCIS is a 
hysterically funny pic- 


CSS ttar 

"Laughter is our business 
so take it from us . . . 
FRANCIS is a comedy 
that's really funny." 


CSS stars 

'FRANCIS will probably 
set a laugh record. I 
haven't laughed so 
much in years." 


CSS and screen star 

"FRANCIS is the funniest 
character I've seen on 
the screen." 


NSC slor 

'FRANCIS, the talking 
mule, reminds me a lot 
of blind dates I've had, 
except he's a little better 
looking and a lot more 


Broadway star 

FRANCIS is one picture 
I recommend most 
highly. Mules will love 
it. (And people, too.)" 


CBS and screen star 

44 VXmn*z: 

nnnii n nvrtniinrtn . 


)NALD CONNC R Patricia Medina 

"FRANCIS is so funny he 
is giving the comedians 
something to worry 
about— lucky for me he 
can't dance — or can 


Musical Comedy sla 

"FRANCIS, the talking 
donkey, is full of laughs. 
This is one donkey even 
the Republicans will en- 
joy seeing." 


Musical Comedy star 

"When it comes to enter- 
tainment, FRANCIS, the 
talking mule, is a sure 
thing. And to think all 
this time I've been bet- 
ting on horses." 


Star of night clubs 

'FRANCIS is the most 
hilarious comedy I have 
seen in ages. I hope 
everyone in the world 
laughs as much as I 


Musical Comedy star 

"I think FRANCIS is the 
funniest thing on four 
legs since Abbott & 


Radio star 

uvunLu \j wwimuii i n i mum mi_unm 

and "FRANCIS'; The Old Army Mule who TALKS 

Screenplay by DAVID STERN . Adapted irom the Novel by DAVID STLRN . Produced by ROBERT ARTHUK 


(Continued from Page 29) 
"Malaya," Adams Rib' and "East Side, 
West Side." Schary has currently revis- 
ed his estimates upward on the group, 
and is now expecting the nine features 
to gross between 35 and 40 million dollars. 
New Talent 

In the new giant program to start in 
April, Schary plans to continue his policy 
of introducing new talent in all depart- 
ments — acting, producing, directing and 
writing. Budgets will remain at about 
the same level as at present, although 
overhead continues to be pared down 
wherever possible. 

One highlight of the new program will 
be another war picture to be produced 
personally by Schary, as a follow-up to 
"Battleground." The new feature, to oe 
titled "Go For Broke," will be centered 
around the activities of the famous Nisei 
442nd regiment which distinguished itself 
in the Italian campaign of World War II. 
Camera work is slated to get under way 
in ;he iate fall months. 



R/JONOGRAM has delved into the mes- 
sage-picture field with the start of 
"A Modern Marriage" on February 1. 
This feature, to be made in cooperation 
with the American Institute of Family 
Relations, will be in the form of de- 
nouncement of divorce, and will carry a 
prologue by Dr. Poponoe, the head of the 
Institute. David Diamond will serve as 
producer, with William Broidy as asso- 
ciate producer. Robert Clarke, Margaret 
Field, Nana Bryant and Reed Hadley 
have been tset for roles. 

Three other features and one western 
will be added to the February slate, a 
busier-than-average production month. 
Others slated to go during the month are: 
"Henry Does It," February 8; "High 
Stakes," February 17; "Joe Palooka in 
Humphrey Takes A Chance," February 
22; and an untitled Whip Wilson oater, 
for which no definite date has yet been 

This department hears that the com- 
pany is also negotiating with Paramount 
for re-make rights to three Marlene Die- 
trich vehicles of about 20 years ago, as 
future starring scripts for Florence Mar- 
ly. The stories to which they hope to 
gain title are "Blue Angel," "Morocco," 
and "Dishonored." 

Producer Walter Mirisch has set "Bom- 
ba and the Jungle Slave" as his second 
in the series based on Roy Rockwood's 
popular novels during 1950. "Bomba and 
the Lost Volcano" starts March 2. 



ji/f ORALE has hit a new high on the lot 
with the announcement from New 
York that the company is currently in the 
most liquid position in its history. Ac- 


cording to a memorandum circulated on 
the lot, the company will soon have a 
total of $48,000,000 in cash deposits, with- 
out a single loan or outstanding obliga- 
tion against them. This studio, as well 
as any in Hollywood, is aware that pro- 
duction henceforth must stand on its own 
feet — and Paramount is prepared to do 
so. The company has been maneuvered 
into a healthy financial position under the 
Balaban regime and this will pay off 
heavy dividends in confidence and in- 

An intensive story property search was 
launched to find strong screenplays to 
bolster the future production slate. It 
is known that the company is in the mar- 
ket for at least two good adventure 
stories for Alan Ladd, either a sophisti- 
cated comedy or a strong drama for Ray 
Milland, a straight comedy or musical for 
Betty Hutton and a musical with empha- 
sis on characterization and story value 
for Bing Crosby. 

Equally encouraging were the raves of 
critics and uppercrust industry personnel 
invited to a private showing of "Sunset 
Boulevard," which stars Gloria Swanson 
and William Holden. One high-ranking 
official of a competitive studio told this 
department he considers the picture one 
of the biggest potential grossers of the 
past five years. 
Six in Cutting Rooms 

January was, by and large, short on 
production, albeit the cutting rooms were 
going strong with six pictures being scis- 
sored. They were: "Union Station" 
(which, incidentally, promises to be a 
real sleeper), "Mr. Music," "An American 
Tragedy," "The Furies" and "September 

Thank heaven someone has seen fit 
to correct the foolhardy notion of chang- 
ing "American Tragedy" to "A Place in 
the Sun," the title used throughout the 
picture's shooting time. Certainly, the 
original title of Dreiser's famous novel 
carries more weight than any innocuous 
handle that would be affixed to it. 



crest as "Sands of Iwo Jima" piles 
up enormous grosses in every situation. 
Even Los Angeles, which has become a 
notoriously bad theater town in recent 
months, was according the picture a tre- 
mendous reception, outgrossing anything 
else in town. 

As a result of the picture's strong 
showing, R:pub'ic is continuing prepara- 
tion of "Fair Wind to Java," which Ed- 
mund Grainger was to have produced 
before he left the lot. John K. Butler 
is writing the story and is set to move 
onto the screenplay as soon as it is com- 
pleted. John Wayne has been set to star. 

At the same time, Herbert Yates dis- 
closed that Joseph Kane is preparing 
three pictures for Republic, two to go 
this year, and possibly all three. The 
lineup includes "The Black Hills" and 
"The Golden Tide," both westerns, and 
"The Sea Hornet," a modern day sea 

John Carroll Signed 

Yates also disclosed that he has signed 
Jo.'m Carroll to a non-exclusive contract 
calling for three pictures, plus options 
for two more. No definite assignments 
have been made for him. as yet, although 
there are three properties under con- 
sideration. This deal will conflict in no 
way with Carroll's own production 
corporation, Southworth Productions, 
through which he plans to make five 



^KO IS COMING to life, topping even 
the five-picture production peak hit 
during January with four new features 
s'atcd to go before the cameras 'uring 
February. ' 'e new product)' ne-up 
will include: \lias Mike Fr ictor 
Mature), wi. Varren D< 
and Ted T me r 
Squad," which 

rect; Skirball-1 
Divorce" (Bett 
Curtis Bernhc 
the Ida Lupir 
child molest' 
tion to the ' 
not comple 
"Sons of tl 
Rose for Ji 

About the 
discuss at 
boli," which 
into release 
Ingrid Bergi 
lines. Certa 
ward busine.' 
ing so keenl 
Insofar as th 
it could only 
art houses, u 
in view of th 
can count oi 
realized on a 
Sundays. Tl 
into a three 
week (Febru 
six weeks ea 

John Way 
starring rol< 
"Jet Pilot." 
"No Place 
western, f 
been anr 

will di- 
jry of a 
ected by 
's Safe," 
us about 
in addi- 
h were 
r hite 


'TWENTIETH CENTURY is the latest 
studio to come up with its own color 
process — a project on which studio 
technicians have been secretly working 
for many months. According to insiders 
at this plant, the company is only waiw 
ing news from Eastman that it can sup- 
ply them with adequate amounts of len- 
ticular film before going into actual 
production with the new process. Thr 





new development keeps Fox and MGM 
neck and neck in their race for suprem- 
acy in the field of modern day motion 
picture production. MGM, as reported 
in a recent issue, likewise has completed 
tests on its own color system, and will 
likely put it in use within the next few 

This development, on top of the an- 
nouncement in New York, the other day, 
that Fox will release no fewer than 30 
to 36 features this year at a cost of 
around $55,000,000, offers definite assur- 
ance that this company is as strong as 
it has ever been in its long and auspici- 
ous history. 
Long Schedule 

Furthermore, there is evidence that 
there is none of the hesitancy to forge 
ahead that is so noticeable in some other 
Hollywood studios. As an example, "My 
Blue Heaven" (Betty Grable-Dan Dailey), 
will carry one of the longest shooting 
schedules of any Fox picture in years. 
The musical, which started on December 
5, will not finish until April 12 — mark- 
ing a total of 109 working days. It 
should be pointed out, however, that 
part of this time will be devoted to re- 
hearsals on dance numbers. The plan 
is to rehearse each of the numbers for 
about ten days, and then shoot each num- 
ber singly, instead of bunching them to- 
gether, as is generally the practice. 



JNCLUDED IN THE welter of vague talk 
in Hollywood about UA is some that 
David Loew, who took quite a set-back 
in his first production financing as head 
of the now defunct Enterprise Studios, 
may again invest a heavy piece of coin to 
back Joseph Justman in that long-awaited 
deal with United Artists. As previously 
•eported here, the Justman deal calls for 
a slate of from 18 to 25 pictures to be de- 
livered to UA over a three year period. 
However, there are so many r umors about 
this outfit that everything must be taken 
with a grain of salt. 

Justman is known to have at least one 
package deal, "Three Husbands," ready 
o go, and could put it before the cameras 
within a matter of a few days after the 
financing is arranged. 

Meanwhile, the financing credit of How- 
ird Hughes for the benefit of pictures to 
)e produced for UA by the Nasser Bro- 
hers, was allowed to expire the first of 
he month, with a substantial portion of 
he original Hughes credit of $600,000 still 
[mused. However, there is still a remote 
>ossibility that the Nassers may be able 
o swing two pictures which they submit- 
ed at the last minute. The deal hinges 

EBRUARY 13, 1950 

on the interpretation of the Hughes ar- 
rangement, inasmuch as the films would 
not actually start shooting until about 30 
days after the deadline. 
Stillman Deal 

From New York comes word that Ro- 
bert Stillman has been handed a six-pic- 
ture deal, under which the commitment 
would be fulfilled over a three-year period. 
Stillman, you'll remember, was associated 
with Stanley Kramer during the filming 
of "Champion" and "Home of the Brave." 
The first film to go under the new deal 
will be "The Condemned," an anti-lynch- 
ing story, set to roll early in March. 



JN AN EFFORT to secure a higher qual- 
ity of story properties, U-I is under- 
stood to have raised its sights on the 
writer market and is now making higher 
offers than for several years. One recent 
purchase, "Fiddle Foot," for example, re- 
portedly cost the studio $25,000, which is 
top price for an original at any studio, 
these days. In addition, the studio is 
known to be searching for top-flight ac- 
tion stories suitable for filming in Tech- 
nicolor to star some of its ample stable of 
male stellar talent. Feelers have also 
been issued for dramatic stories for Shel- 
ley Winters and Yvonne de Carlo, as well 
as a comedy for Abbott and Costello. 

At the same time, "Song of Norway," 
originally purchased as a starring vehicle 
for Deanna Durbin, has been dusted off 
and given to Harry Turgend to produce 
from his own script, some time this sum- 
mer. Beyond the fact that it will be a 
lavish Technicolor production, nothing 
has been announced on the picture. 
Production Spurt 

Production here took a sudden spurt the 
first of the month, when three new fea- 
tures went before the cameras within a 
single week. They were: "Louisa" (Ron- 
ald Reagan-Ruth Hussey-Charles Coburn- 
Edmund Gwenn-Spring Byington), "Pan- 
ther's Moon" (Marta Toren-Howard Duff- 
Philip Friend-Robert Douglas), and "Ma 
and Pa Kettle Back Home." 

"They Fly to Live," U-I's story about 
aviation cadet training with jet planes, 
has also been reactivated and assigned 
to producer Aaron Rosenberg. 



JN ONE OF the smartest moves made by 
any studio in a long time, Warners have 
just completed an extensive cataloguing 
of free-lance character and supporting 

players whose names add boxoffice lustre 
to pictures, and every effort will be made 
to secure the services of these players to 
round out future casts. Inasmuch as 
moct of these players fall into a compara- 
tively high salary bracket, they are not 
under con ract to studios. 

The list of men which Warners will 
work from in casting up-coming produc- 
tions: Walter Brennan, Charles Coburn, 
Edmund Gwenn, Millard Mitchell, Morris 
Ankrum, Alyn Joslyn, Henry Hull, J. Car- 
roll Naish, James Barton, Walter Huston, 
James Gleason, Raymond Massey, Tom 
Tully, Frank McHugh, Cecil Kellaway, 
Henry Travers, Jeff Corey and C. Z. Sak- 
all. The list of ranking feminine players: 
Florence Bates, Helen Broderick, Judith 
Anderson, Mildred Natwick, Agnes Moor- 
head, Dorothy Stickney, Elsa Lanchester, 
Una Merkel, Selena Royle, Beulah Bondi, 
Aline MacMahon, Margolo Gilmore and 
Eve Arden. 

Whether or not most producers realize 
it, supporting players often have as big 
fan followings as some of the so-called 
big star names and can lure just as many 
customers into the theaters. By realizing 
this fact and making the full use of their 
popularity, Warners should not only great- 
ly enhance the quality of the future pro- 
duct, but also increase the drawing power 
of their pictures. Other studios would 
be wise to take a leaf from their book 
on this score. 

Edwin Marin has been signed to a new 
seven year director's contract here, which 
carries two-year options. He will direct 
two films annually for the Burbank studio, 
giving him the right to do an additional 
picture on the outside each year. Marin 
has just completed "Colt .45" for War- 
ners under a one-picture deal. 



The Robert Goelet-James Shep- 
ridge independent unit which re- 
cently made "Rapture" for Film 
Classics release, has just complet- 
ed arrangements for a second dis- 
tribution deal on "The Flame of 
Life '. The inde producers bought 
the new property, which deals with 
the romance of D'Annunzio and 
Eleanor Duse, from the Italian 
government. Negotiations are un- 
der way to secure Greta Garbo for 
the starring role. 


Robert L. Lippert will allocate his 
heaviest ballyhoo budget to "Baron 
of Arizona", which, reputedly, ranks 
as the company's most important 
picture, to date. For the first time, 
Lippert will utilize national maga- 
zines as an advertising medium and 
has earmarked $100,000 for that 

Paul Davis, booker for United 
Artists Theaters, has been named 
special sales representative for Lip- 
pert Productions. He formerly 
served with 20th Century-Fox and 
RKO sales branches in a similar 


IG circuits...SMALL circui 


podrome, Gloversville, N.Y. • Olympic, Wotertown, N.Y. • Rialto, 
ns Falls, N.Y. • Rialto, little Falls, N.Y. • State, Tupper Lake, 
'. • Strand, Ogdensburg, N.Y. • Pontiac, Saranac Lake, N.Y. 
leral Starke, Bennington, Vt. • Rialto, Potsdam, N.Y. • lyric, 
se's Point, N.Y. • American, Canton, N.Y. • Rialto, Amsterdam, 
'.•Strand, Carthage, N.Y. • State, Hamilton, N.Y. • Malone, 
one, N Y. • Mo*»ena, , Masseno, N . Y . • Oneotlto, Oneonta, N.Y. 
re, SihenerjBnV; N . Y. • Hollywood, AuSable Forks, N.Y.'Gralyn, 
j/erneur, M.Y. • Franjo, fcoonvillo, N.Y. • Catskill, Cotskill, N.Y. 
yhouse, Manchester, Vt. "Fair/lond, Warrensburg, N.Y. • Olympic, 
a, N.Y. • Miwihwood, North Creek. N.Y. • Fail Haven, Fair 
en, Vt • iircind, Albany, N.Y. • Lincoln, Troy, N Y. • Palace, 
e /load. N r "Capitol, 1 1, on. N.Y. • liberty, Herkimer, N.Y. 
uire, F, it, Mas-. •Ma/flower, Boston, Mo»i. • Pllyrlm, Boston, 
;s. • AuburffT^ubunr^Mff", •Colonial, Augusta, Me. • Bijou, 
gor. Me. • Strong, Burlington, Vt. • Concord, Concord, N.H. 
>ire, Fall River, Mass. • Saxon, Fitchburg, Mass. • Colonial, Haver- 
, Mass. • Palace, Lawrence, Mass. • Modern, Lawrence, Mass. 
rimac, Lowell, Mass. • Strand, Manchester, N.H. • Daniel Webster, 
.hua, N.H. • Olympic, New Bedford, Mass. • Strand, Newport, R.I. 
oy, Pawtucket, R.I. • Union Square, Pittsfield, Moss. • Strand, 
fland, Me. • Colonial, Portsmouth, N.H. • Metropolitan, Providence, 
•Capitol, Springfield, Mass. • Art, Springfield. Moss. • Warner, 
rcester, Moss. • Paramount, Borre, Vt. • Opera House, Bath Me. 
ilral, Biddefor, 
re, Gloucester 

Adams, Mass. • Old Colony, Plymouth, Mass. • Plymouth, Plymouth, 
N.H. • Scenic, Rochester, N.H. • Paramount, Brattleboro, Vt. 
Bristol, Bristol, Vt. 'Chatham, Chatham, Mass. • Elizabeth, Falmouth, 
Mass. • Mahawie, Great Barrington, Mass. • Garden, Greenfield, Mass. 
Modern, Harwichport, Mass. • Plymouth, Plymouth, Mass. • Center, 
Hyannis, Mass. • Rialto, Lancaster, N.H. • Park, Taunton, Mass. 
Vergennes, Vergennes, Vt. • Lyric, White River Junction, Vt. • Strand, 
Oreno, Me. • Strand, Rockland, Me. • Paramount, Rutland, Vt. • Star, 
Westbrook, Me. • liberty, Ashlond, N.H. • Opera House, Bellows 
Falls, VI. •State, Milford, Mass. « Strand, Newburyport, Mass. "Conis- 
ton, Newport, N.H. • Empire, St. Albans, Vt. • Community, Fort Kent, 
Me. • Park, Rkhford, Vt. • Plaza, Lyrdenville, Vt. • Tcgu, Morris- 
Wile, Vt. • Palace, St. Johnsberry, Vt. • RioltO, Walerbury, Vt. 
Orpheum, Woodsville, N.H. • Fine Arts, Maynard, Mass. • Province, 
Provincetown, Mass. • Powers, Caribou, Me. • Uptown, Dover, N.H. 
Playhouse, Enosburg, Falls, Vt. • Strand, Rummford, Me. • Strand, 
Berlin, N.H. • Cumberland, Brunswick, Me. • Opera House, Gardner, 
Me. • Rialto, Hallowell, Me. • Dreamland, Livermore Falls, Me. 
Wilton, Wilton, Me. • Rex, Norway, Me. • Strand, South Paris, Me. 
Strand, Montpelier, Vt. •Wilbur, Eastport, Me. • Jax, Colebrook, 
N.H. • Town Hall, Littletown, N.H. • Casino, Narragansett, R.I. 
Buzzards, Buzzards Bay, Mass. • Lubec, Lubec, Me. • Opera House, 
Stonington, Me. • Strand, Westboro, Me. • Lincoln, Lincoln, Me. 
Lincoln, Damariscota, Me. • State, Presque Isle, Me. •Amusu, Grove- 

Me. 'State, Calais, Me. • Capitol, Hillsboro, N.H. • State, Farn 
ton. Me. • Savoy, Northfield, Vt. • latchis, Claremont, N.H. • lot 
Keene, N.H. • Playhouse, Randolph, Vt. • East Greenwich, y 
Greenwich, R. I .♦ Windsor, Windsor, Vt. • Ideal, Springfield, 
20th Century, Buffalo, N.Y. • Jefferson, Auburn, N.Y. • Fo 
Batavia, N.Y. • Lafayette, Batavia, N .Y. • Capitol, Binghamton, 
State, Cortland, N.Y. • Regent, Dunkirk, N.Ya&Regent, Elmira, ^ 
Geneva, Geneva, N.Y. "Temple, Geneva, N.Y. • Strand, IthgCO , 
Y. • Wintergarden, Jonestown, N.Y. • Cataract, Niagara Fc 
Havens, Olean, N.Y. " Oswego, Oswego, N.Y. • Paramount, 
N.Y. • Playhouse, Candndaigua, N.Y. • Babcock, Bath, N 
ium. Perry, N.Y. • Elmwood, Penn Yan, N.Y. • Fox, Cor 
Copitol, Newark, N.Y. • Strand, Seneca Falls, N.Y. • Gran 
field, N.Y. 'Seneca, Salamanca, N.Y, •Rialto, Albion, N 
tic, Hornell, N.Y. •Rialto, Lockport, N.Y.'Albee, Cincinnati 
Keith, Dayton, O. • Palace, Columbus, O. • Palace, Huntington 
Va. • Palace, Lancaster, O. • Lyric, Williamson, W.Va. • Vfl 
Athens, O. • State, Springfield, O. • Wayne, Greenville, O. •G' 
Newark, O. • Miami-Western, Oxford, O. • State, Washingtoil 
House, O. • Lyric, Greenfield, O. • State, Mt. Sterling, o: •* 
Peebles, O. • Palace, Glouster, O. • Rohs, Cythiana, Ky.«|j 
Lewisburg, W.Va. • Monroe, Union, W.Va. • Gilbert, Gilbert," 
Town Hall, Lebanon, O. • State, Lexington, Ky. • Piqua, PiQV* 
Paris, Paris, Ky. • Manring, Middlesboro, Ky. • Madison, Ricli: 

, tjHM«[RE^evt<^T F « r ^d i « l ^H^TtiiNs>VitNERS , ToMr i . Of'toHto feitoteRS^ciReui*' «*"»*viv« M..«ffr* ciRctmr ti#*<tm\ycHai\\,s,ftojti( M ^MQon>&t9cmnf)tu 

', Mass. • Houlton, Houlton, Mass. • Paramount, North house, Scituate. Mass. • Strand, Skowhegan, Me. • State, Madison, Portsmouth. O. • Eaton, Eaton, O. • CapitoL Jrjgnkfort. Ky.rL 



arietta, O. • Paramount, Ham, Iton, O. • Davy. Davy. W.Vo. O. • Grant. Williamstown Kv • Fnirh„,„ P-:,K-,- r. . - . ' . ' . rpr,eum - Ottawa, "I. • Wanee. Kev 

arietta, O. • Paramount, Hamilton, O. • Da 
ilbert, W.Va. • Pocahontas, Welch, W.Va 
• Paramount, Middletown, O. • Majestic, 
Falmouth, Ky. • Groves, Summersville, 

Davy, W.Va. 
• Royal, Paints 
Nelsonville, O 
W.Va. • Liberty 

lim. Vi 

IdUVt, O. 'Russell, Maysville, Ky. • Capitol, Charleston, W.Va 
tjJiJVicco, Ky. • Redo, London, Ky. • Trimble, Mt. Sterling, Ky. 
Recovery, O. • State, Cambridge, O. • Elder, Jackson 
New Star, Richwood, W. Va. • Leeds, Winchester, Ky. 
fO.lew Straitsville, O. • Stephen, Hitchens, Ky. 'Kentucky, Dan- 
». |. • Redo, East Jenkins, Ky. • Palace, Aurora, Ind. • Liberty, 
retkburg, Ind. • Princess, Mt. Hope, W.Va. • Midway, Bethel, O. 
• f-'eville, Ky. • Ripley, Ripley, O. Marvel, Mt. Orab. O. • Alton. 
«r| Ky. • Marlowe, (ronton, O. • Shelby, Shelbyville, 
I. Tehead, Ky. • Louvee, Wellston, O. • Grant, Georgetown 
rjP'Urbana, O. • Morgie Grand, Harlan, Ky. • St. Mary's, 
mO. "Glenn, Georgetown, Ky. • Ohio, Sidney, O. • Sherman 
irejie, O. •Mayflower, Troy, O. 'Happy Hour, Williamsburg, O 
«J Minster, O. • New Bremen, New Bremen, O. • Clinton, Blan 
|«jp. • Capitol, Logan, W.Va. • Roy, New Concord, O. • Whitley 
WjjClty, Ky. • Maiestic, Owingsville, Ky. • Virginia, Hazard 
m Pomeroy, O. • Bently, Neon, Ky. • Kentucky, Garrett 
'OCWcArlhur, O. • Ideal, Springfield, Vt. -Marilyn, Van Buren 
» MAcademy, Lynchburg, Va. • Hippodrome, Baltimore, Md 
WMNewport News, Va. • Wythe, Newport News, Va. • Stuart 
IM News. Va. -Colony. Hillsboro. O. • Markay. Jockson O 




O. -Grant, Williamstown, Ky. • Fairborn, Fairborn, O. • Matewan, 
Matewan, W.Va. • Richland, Carrolton, Ky. • Strand, Lexington, Ky! 
Allen, Cleveland, O. • Palace, Akron, O. • Palace, Ashtabula', O. 
Holland, Bellfontaine, O. • Ohio, Canton, O. • Civic, Fostoria! O. 
State, Lima, O. • Madison, Mansfield, O. • Grand, Massillon, O. 
Paramount, Steubenville, O. • Rich, Tiffin, O. • Rivoli, Toledo,' O. 
Wooster, Wooster, O. • Palace, Youngstown, O. • Columbia, 
Liverpool, O. • Shey, Geneva, O. • State, Conneaut, O. • Star, 
shocton, O. "Morrison, Alliance, O. • Paramount, Fremont, O. 
Zel, Bowling Green, O. • Robins, Warren, O. • Memorial, Mt. Vernon, 
O. • Royal, Findlay. O. • Palace. Marion, O. • Niles, Robins, O. 
Hippodrome, Crestline, O. •, Bluffton, O. • City, Bergolz'. 
Bexley, Dover, O. • Strand, Defiance, O. • Strand, Delaware, 
Norwalk, Norwalk. O. • Rex, Ottawa, O. • Bryan, Bryan, O. 
amba, Shelby, O. • Clinton, Port Clinton, O. • Ashlond, Ashland, 
State, Napoleon, O. • Kent, Kent, O. • Rovenna, Rovenna O ' 
Palestine, E. Palettint.'O. 'Ohio, Van Wert, O. •Community, Cadli, 
O. • Indiana, Indianapolis, Ind. • Mary Anderson, Louisville, Ky'. 
Orpheum, Terre Haute, Ind. • Indiana, Kokomo, Id. • Clinton, Frank- 
furt, Ind. • New Moon, Vincennes, Ind. • Slate, loganpo'rt, Irt 
Wallace, Peru, I nd. • Paramount, Anderson, Ind. 'Grand, Evan'svil 
Ind. • Ritz, Crawfordsville, Ind. • Grand, Union City, Ind. 
Geneva, Ind. • Tivoli, Jasper. Ind. • Hines, Portland, Ind. • Cozy] 
Argos, Ind. • Hartford, Hartford City, Ind. • Swiss, Tell City, 
Strand, Muncie. Ind. • Roosevelt, Chicago, III. -Slate. Rockfor'd 

• Cla- 

• Coit 





, ..ewanee, III. • F 

Aurora, III. •Palace, Danville, III. -Grove, Elgin, III. •Patio, Fr 
port. III. • Orpheum, Joiet, III. -Palace, Peorio, lll.-Gr'ana. 
So. Bend, Ind. 'Palm State, Detroit, Mich. • Maryland, Cumberlai 
Md. • College, New Haven, Conn. • Majestic, Bridgeoprt, Conn. • 
M. Loew, Hartford, Conn. • Capitol, Meriden, Conn. • Poli, Norwi 
Conn. • Empress, S. Norwalk, Conn. • Plaza, Stamford, Conn. • Mo 
son. Madison, Conn. • Saybrook, Soybrook, Conn. • Barry, Pittsbur. 
Pa. • Ritz, Clorksburg, Pa. • Columbio, Erie, Pa. • Lee. Fairmont, 
Va. • Monoi, Greensburg, Po. • Cambria, JortiWowrt, Pa. • Po 
Meadeville. Pa. • Metropolitan, Morgantown, W.Vo. • tntonia, • 
City, Po. 'St. Mory'i, St. Mory s, Po. • New luno. Sharon' I 
State, Stolo College, Pa. • Columbia, Woiren, Po. • State Washi. 
ton. Pa. • Victoria, Wheel, no, W.Va. • Go, by. Clarion, Pa. • Colu 
bia, Brookville, Pa. • Jefferson, Pun»utowney. Pa. • Slronrf, Rid. 
way. Pa. -Penn, Titusville, Po. • Grand, Huntington. Pa. '• Gra, 
Ml. Pleasant, P a . • Roxy, Webster Spring!, Va. • Moio>t,c. Ph,l, P ,bu 
Po. • Smiths, Bainesboro, Pa. • Slate, Myersdole. Pa. • Konawl 
Buckhonnon, W. Vo. • Granada, Beaver Falls. Po. • Oriental, Roch 
tor, Po. 'Kayton, Franklin, Pa. • Camden, Weston, W.Va. • Aveni 
DuBois, Po. • Lyceum, Kiltannln, Po. • Penn, Butler. Pa. • Emporiu 
Emporium, Pa. • Coudersport, Coudersport, Po. • Temple. Kane, I 
Governor, Somerset, Pa. • Jordan. Greenville, Pa. • eyrie, Cleorfie 
Pa. '51010, Bellefonte. Pa. • Rialto, Renovo, Pa. • Palace, Mo 
Jewell. Pa. • Penn. Sheffield. Pa. • Eldred, Eldred. Po. 


The manner in which RKO-Radio's 
latest Samuel Goldwyn .release, "My 
Foolish Heart," was received by the New 
York newspaper critics clearly depended 
upon the gender of the person viewing 
the film. The masculine reviewers were 
agreed that it is a typically fine Gold- 
wyn production, but were equally united 
in their objection to the overbearing and 
obvious bid for the favor of the weepier 
set, as well as the soap opera quality 
of the plot. Ihe female dissenter, how- 
ever, went down the line for it without 
qualification, expressing her complete ap- 
proval of all aspects of the picture. 

In the Post, Arch Winsten brands it 
"a melancholy recollection of a moss- 
covered theme," charging the writer 
"who dreamed and wept the last part" 
with "listening to too many soap operas." 
Ihe Samuel Goldwyn "surfaces," he 
mentions, "deserve a better plot than 
this, or . . . at least a better conclusion." 

Another who believes "the whole story 
belongs strictly in the pages of a wom- 
an's magazine" is Alton Cook, of the 
World-Telegram and Sun. "I am told," 
he says, "the woman's magazine readers 
will lap this up," confessing in conclusion 
that "borrowing my small son's comic 
books strikes me as better recreation." 

To Otis Guernsey, in the Herald Tri- 
bune, "it is smooth and glossy, but its 
complicated involvements have some of 
the cramped, heavy atmosphere of a 
stuffy room." 

The Times' Bosley Crowther finds the 
film a real tearjerker, "obviously design- 
ed to pull the plugs out of the tear glands 
and cause the ducts to overflow." Agree- 
ing that Goldwyn "hasn't done an indif- 
ferent job" of production, he humorously 
adds: "The smooth tricks by which he 
(Goldwyn) strokes the tear glands are 
strictly and dutifully Grade A." 

"Not my dish of tea," writes Seymour 
Peck in the Compass, "but I have a 
hunch millions of women are going to 
have a fine old time." He objects to a 
film that is "regarded as 'a woman's pic- 
ture' " and "suggests that women are 
generally a bunch of ninnies without in- 
dependence of will who live only for men, 
men, men." 

In complete disagreement is Rose 
Pelswick, in the Journal American, who 
acclaims "an engrossing romantic 
drama," heaping praise upon Susan Hay- 
ward for taking "full advantage of a 
strong emotional role to contribute her 
best acting job to date." Goldwyn is also 
a recipient of her kudoes as a producer 
frcrn whom audiences have come to ex- 
pect pictures of quality and taste," and 
who "has given his latest one every bene- 
fit of top flight production." 



"Franchot Tone is billed as co-pro- 
ducer . . . Burgess Meredith is the direc- 
tor . . . When the man who wields the 
whip is also one of those to be whipped, 
perfection's heights are seldom scaled. 
. . . Has a tendency to lag behind its 
audience, and anyway, the audience 
doesn't care too much what happens . . . 
Doesn't amount to much more than a 
color travelogue of Paris with familiar 
actors' faces doing a foreground story 
in accompaniment." — WINSTEN, N. Y. 



What the Newspaper Critics Say About New Films 

"Story of the film is hardly dazzling 
or original or mystifying . . . but all 
hands clearly took such pleasure in their 
wo,rk that (it) emerges as an enjoyable, 
if minor, thriller." - PECK,, N. Y. 

"In losing their hearts to the Eiffel 
Tower, the Seine, the boulevards and 
Montparnasse, the producers and the di- 
rector have given some distinction to an 
otherwise routine adventure . . . The 
most decorative 'actor' ... is Paris it- 
self." — A. W., N. Y. TIMES. 

"A suave and interesting thriller 
which has great personality and style . . . 
Tinges its routine whodunit material 
with a sort of cinematic chic . . . The 
whole picture has an authentic local 
color which gives the finishing touch to 
a smoothly integrated and thoroughly 
enjoyable entertainment . . . Very nearly 
comes into three full dimensions in an 
artful piece of picture-making." - 

"Provides at one and the same time 
an entertaining suspense melodrama and 
a most engaging sightseeing tour of 
Paris . . . Almost one long chase." — 



"Tropica] melodrama that appears to 
have been thrown together for the main 
purpose of displaying (Shelley Winters') 
reasonable allotment of feminine charms 
. . . Wild adventure yarn." — BARSTOW, 

"Reminds you a little of 'Rain' and Sadie 
Thompson ... A derivative picture based 
on the theory that in blond Shelley Win- 
ters the studio's got a sexy menace who 
can be rowdv and nice too." — WINSTEN, 
N. Y. POST. 

"Ridiculously romance-soggy film which 
has about as much South Seas flavor as 
a roadside papaya bar ... To see it is to 
see Sadie Thompson haunting some studio 
sets." — CROWTHER, N. Y. TIMES. 

"A really awful movie . . . It's all trash, 
but for me, Shelley can do no wrong." — 

"Never quite makes up its mind whether 
to be straight drama or burlesque . . . 
Thanks to Shelley Winters, who enlivens 
the proceedings whenever she's within 
camera range, the film has its amusing 
moments." — PELSWICK, N. Y. JOUR- 



"Super-dupe horse opera . . . Highly in- 
volved and talky Western . . . Action, 
though fast towards the finish, is decided- 
ly meager . . . and Mr. Taylor is a flat tire 
as a hero." — CROWTHER, N. Y. TIMES. 

"A real double-barreled outdoor drama 
with one barrel clogged by the inconse- 
quential ... As a melange of wasteland 
scenery, neat cavalry formations and sud- 
den border violence it is right out of the 
top drawer . . . Unfortunately, 'Ambush' 
is also padded with inside-the-fort scenes 
bogged down in muddy, artificial emotion- 
alism." — GUERNSEY, N. Y. HERALD 

"Horse operas always provide plenty of 
action, and this one has its quota of 

"Spectacular scenery and an Indian mas- 
sacre set into some vivid battle sequences 
. . . Maybe if you come late and just see 
the lively parts, you will have a much 
better time than the prompt patrons who 
get the full order of romantic hors 
d'oeuvre." — A.C., N. Y. WORLD TELE- 



"The this-is-how-it-happened routine, 
technically known as the flashback, is 
employed in spinning out a convention- 
ally melodramatic whounit." - PELS- 

"Excitement may be synthetic, but the 
hubbub is continuous ... In such a pic- 
ture, one skips comment on the acting 
and merely marvels at the stamina. No 
one even breathes hard as things whiz 
along. Neither, at a guess, will the au- 
dience."— COOK, N. Y. WORLD TELE- 

"The title is descriptive of the effort 
expended by all. A short and sweet ob- 
servation covers 'Backfire': It does" — 

"An assembly-line mystery containing 
nothing so shocking as an original idea 
... A type of old friend; you are glad 
enough to see him, but you have heard 
all his stories before." - - GUERNSEY, 

"Aspires to be a murder mystery . . . 
But I'm afraid the Warners haven't kept 
it very much of a mystery . . . For all 
its violence, 'Backfire' seemed a surpris- 
ingly placid movie."— PECK, N. Y. COM- 

EDITORIAL (Continued from Page 7) 

There is oni> obligation incumbent upon the distributor of "Stromboli" 
and upon the exhibitors who play it, that being strict avoidance of the temp- 
tation to exploit the Bergman-Rossellini affair as a means of selling the pic- 
ture. Beyond that, we say those who would stifle the film are intruding upon 
the public's privilege of judging it as entertainment and as a work of art. 

Of all that has been said in this furore, we recommend most highly these 
wise words from Ronald Reagan, president of the Screen Actors Guild: 

"I question the wisdom of any group or individual setting them- 
selves up to assume the function of a moral arbiter. Our country, in 
fact our whole system, is based on the idea that only the people can best 
decide what is best for the people. T thei-eforc think the only proper 
censorship of performers or performances should be in the hands of 
those who, by purchasing or not purchasing tickets, decide who and what 
tbey wish to see." 

In short, the public is its own best censor. 









Rates • • • — except for action houses 


99 Minutes 

Ann Sothern, Jane Powell, Barry Sullivan, 
Carman Miranda, Louis Calhern, Scotty 
Beckett Fortunio Bonanova, Glenn An- 
tlers. Nella Walker, Hans Conried, Frank 

Directed by Robert Z. Leonard. 

The sure-fire formula so successfully 
employed by producer Joseph Pasternak 
in previous Technicolor fluff-films with 
music is utilized once again in "Nancy 
Goes To Rio" and appears sure to regis- 
ter the same strong grosses as did the 
others. It's light, entertaining comedy, 
dotted with engaging melodies and vocal- 
ists, telling an oft-told tale. The presen- 
tation, however, is done with such verve 
and vitality that while one knows almost 
precisely what complication is to folio .v 
what, it's still heartily enjoyable and a 
feast to the eyes. The sets are sumj> 
tuous, the apparel worn by the female 
principals sure to elicit aahs from the 
distaff side of the audience, the music 
bounces pleasingly on the ear-drums and 
Technicolor enhances the sensual pleas- 
ures. In keeping with the light-hearted 
spirit, Jane Powell, Ann Sothern and 

Louis Calhern as daughter-mother-grand- 
father steady the frothy concoction whh 
performance admirably suited to the oc- 
casion and the support follows their lead 
in the same vein. Producer Pasternak 
heir, selected a combination of two of his 
prior successes, "A Date With Judy" and 
"Three Daring Daughters," for "Nancy 
Goes To Rio." The production has the 
ingenuousness that made the first a top 
boxoffice attraction and the mother-daugh- 
ter relation of the latter for its plot- 
twists, adding a gimmick that will be sure 
to elicit laughter from most audiences, 
the mistaken impression that the youth- 
ful Miss Powell is to become an unwed 
mother. The double entendres in the 
dialogue and action spawn most of the 
comic situations, funny because the audi- 
ence knows all along that the youngster 
is completely virtuous and that every- 
thing will come out exactly as they would 
have wished in the end. 

The music and the story are delight- 
fully intertwined, never interfering with 
each other. Carmen Miranda, Miss 
Powell, and Miss Sothern handle the 
songs, each in their own manner and do 
a sock job. Miss Miranda is at her best 
wilh two zingy numbers, while young 
Jane's pleasing tones treat most of the 
others, both old and new, and Miss Soth- 

ern also croons a couple. A group of 
teen-agers headed by Miss Powell and 
Scotty Beckett effervesce through the 
title song and a soft-shoe routine by the 
stage family trio is a most endearing 
piece of business. 

STORY: The 17-year-old Jane Powell, 
daughter of famed musical comedy star 
Ann Sothern, is given the plum role in 
a new play, not knowing that her mother 
is planning to do the part. Jane follows 
Ann to Rio, to tell her the good news. 
On board ship, she meets Barry Sullivan, 
who hears her rehearsing some lines 
from the play and concludes she is to 
become a mother. She misinterprets his 
resultant attentiveness as love, and when 
she arrives in Rio to find her mother re- 
hearsing the same role, she nobly decides 
to let Miss Sothern do the part and seeks 
solace with Sullivan. Carmen Miranda, 
his business partner, tells Ann about 
Jane's "condition" and the distraught 
mother, thinking Sullivan is the cad who 
misled her little girl, faces him with it. 
However, Grandpa Calhern derives the 
truth and both mother and daughter then 
vie for Sullivan's attentions. It all ends 
up satisfactorily, with Miss Sothern giving 
up the part to marry the guy, and Jane 
making a successful debut on the profes- 
sional stage in the new show. BARN. 

.ni Square Dance Craze with the 

& M« ,k, «"!»V es " r " M " si<a1, 

Boxoffic e 



HOME OFFICE: 255 Hyde St:, San Franciteo 2, Calif. • FOREIGN SALES DEPT: 723 7th Ave., N. Y. C. 19, N. Y. • CANADIAN DEPT. 700 Bay St., Toronto, Ont. Con 


Blue Grass 

of Kentucky 

is assure 



"A Derbu winner ! " 


for further information please contact your MONOGRAM Exchange 

pE GRASS of KENTUCKY" starring Bill WILLIAMS -Jane NIGH -Ralph MORGAN * Produced by JEFFREY BERNERD • Directed by William Beaudine • Screenplay by W.Scott Darling 

Are you doing YOUR PART in the fight to kill the unfair TICKET TAXI 




In the Release Chart, the date under "Details" refers to the 
issue in which cast, director, plot, etc., appeared. "Rel." 
is the national release date. "No." is the release number. 
"Rev." is the issue in which the review appeared. There 
may be variations in the running time in States where there 
is censorship. All new productions are on 1946-47 programs 
unless otherwise noted. (T) immediately following title 
and running time denotes Technicolor production, (C) 
denotes Cinecolor. 


1949-50 Features 

Completed (50) 
Completed ( 2) 
Completed ( 9) 

In Production (0) 
In Production (0) 
In Production (0) 


COMPLETED 1949-50 

Title — Running Tlmr Cast Details Rel. No. Re». 

Adventures of Sir Galahad, The Reeves-Leigh 5-9. 12-49 

A'l the Kino's Ken (109) Craw'o:d-Dru 12-6 12-5 

And Baby Ma'-es Three (84) Ycun;-Hale r -23 12-49 12-5 

Deia:is t:n J cr title: Baby Is Here 

Barbary P:rate (65) Wcod-Sci-nabsl 3-28 11-49 

Bandits of El Dorado Starrett 6-6 

Beauty On Parade Huttm-Warrick 11-7 

Behl"d This Mask Bugart-Grahame 11-7 

Details under title: In a Lo.cly Pace 

Beware cf Biordie Sinole on-Lake 8-29 

Beyo-d the Purpb tti'ls Autry-Denn'san 12-19 

Bla/lng Trail Starrett-Burnette 1-31 

Blondie Hi'.s he Jackpot (66) Sing'cto"-l.ak« 10-25 . 12-49 1-2 

Bcdyho:d Parker-Ahriaht 8-29 

Cargo to Capetown Crawford-lrcland-Drew .7-18 

Conr* Bill Mcruire-M.iorr 5-1C 

:aptive Girl Weismul'er-Crabbc .10-24 

Cow Town Autry-Davis 5-21 

Cowboy and the Indians. The Autry-Ryan 3-28 

Cu'tom's A-e:t Fyfe-Revnolds 12-19 

David Harding. Counter Spy Parker-Long 1-30 

Dev i's Henchnen, The (69) Baxter-Converse 11-8 12-49 

Father Is A Bachehr Hnlden-Grav 9-12 

Feudin' Rhthm (66) Arno'd-Henry 7-18 12-49 

F»''unes of Ca tain Blood Hr.yward- Medina ...11-21 

Fro"tier Outpost Starrett-3unict'.e 12-29 

Girl's School Reynold -Hall 7-4 

Good Humor Man Carson-Wallace 6-6 

Her Wo derf I Lie . Kiepura-Ecoerth 11-10 

Details under title: The fterna' .vUlody 

Hoe Down .... Arno!d-0' Mahoney 7-4 

Haliday in Havana Arnaz-Hatther .... 12-20 

Hors men of the S'erra (56) S'arrett-Burnett 3-28 .9-49 

Jolson Sings Again <T) (96) . Park"-Hal» 11-22 10-10 

Kill the Umpire Bcndix-Henry 10-24 

Killer That Stalked New York, The Keyes-Korvin 12-5 

Lost One. The (82) Corradl-Mattera ... Foreign 

Los' Tribe. The Weissmuller-Oell . ... . 9-27 

Mark of the florilla Weisrrrullrr-Marshall . 9-26 

Mrrv Rym De ective Hunt-PhiMips 7-4 

Military Academy Clrments-Tyler 10-24 

Miss Grant Takes Richmond (87; Ba'l-Holden 3-28 10-49 10-10 

Mr. Soft To-.'ch (f3) Ford-'(eyes 8-30 . 9-49 12-5 

Mule Train Randall-Vincent 8-30 .8-49 

Nevadan. The Courtland-Tyler 8-1 

No Sad Soags Fcr Me sullivan -Corey 10-24 

One Way Out I o-d-r.rawford 1-2 

Outcast of Black Mesa Starrett-Burnett 11-7 

Palomino Autry-Ryan 11-21 

Petty Girl. The Cummings-Caulfleld 9-26 

Prison Wa^en Ba v ter-Lee 5-9.. 12-49 

Reck'e.s Mtment (82) Mason-Bennett 3-28 11-49 

Renegades of the Sage (56) Starrett-Burnette 8-29 .11-49 

Riders in the Sky Autry-Henry 8-29. 11-49 

Details under title: Beyond the Purple Hills 

Riders of the Whistling Pines Htry-White 7-5 

Dr'alls under title: Wings Westward 

Pngues of Sherwood Forest (T) Derrick-Lynn °-12 

Rusty's Birthday (60) Donaldson-Litel 2-28 11-49 

Smoky Mountain Melody (51) ....... A cnrT-W il' irms 12-16 

Son« nf New Me-ico «'try_Dav;- 7 -4 ... 

Tell It to the Judge '87) Hus-.eli-Curr.mings 4-25 . 12-49 1-2 

Details under title: My Next Hosbanr 

Tokyo Joe (?8) Bogart-Marly 1-17 11-49 11-21 

Trail of the Rustlers Starrett-Burnrtte 10-10 

Traveling Saleswoman Day s-Dtvine 8-29 

Tyrant of the Sea WiMiams-Randall 8-29 

Woman of Distinction Russell-Mllland 8-1 


Air Hostess (61) Henry-Wright 9-27 . .8-49 

Doolins of Oklahoma (90) Scott-Allbritton 10-25 .7-49 

Lone Wolf and His Lady. The (60) Scott-Malone 4-25 8-49 

Rim of the Canyon (70) Autry-Leslie 12-20 .7-49 

Secret of St. Ives, The (76) Key-Brown 12-20 .6-49 

South of Death Valley (54) Starrett-Burnette 4-25... 8-49 

State Penitentiary Baxter-Booth 12-19 

1948-49 Features 

Completed (34) In Production (1) 



. . . Foreign . 


Title — Running Time Cast Details Rel. No. Re> 

Sun Sets At Dawn, The Parr-Sh.-,wn 

COMPLETED 1949-50 

Alice In Wonderland (A) Marsh-Murray Foreign .... Feb. 

Cowhoy and the Prizefighter Bannon-Nova Dec... 956 

Deadfall Bar.-ymcre, Jr.-Mil e,- .1-16 M 

Destination Moon Anierson-Ucher 11-21 

Gay Lady. The Kent-Donald Forei;n . . . Dec . . . . 013 

Give Us This Cay W2namak«r-Padovani Jan 

Golden Gloves Story, The D nn-We terfall 11-21 

Great Rupert <86) Duran'c-Moore Feb 1-16 

Guilty of Treason (86) B'ckford-Gran/ilie Feb 1-16 

Hidden Room, The (£8) Newton-Gray Foreign ... Oct ... Oil 

Hit The Ice Abbatt-Costel'o Reissue 

I'll Be Seeing Yen Rcers-Cottsn Reissue I 

Intermc'/o (70) Bergman-Howard Reissue . .Jam 

Never Fear For e.t— Brasscllc Jan jA 

Passport to Pimlco Ru'h:rford-Holloway Foreign 010 

Port of Nc* York Brady-Stevens D-c . . . 009 

Rebecca (SRO) . ... Fontaine-Olivier Reissue. . July 

Sarumba Dcwling-Whalcn Jan... 014 

Sundowners. The Preston-Dawns Jin m 

Third Man, The Cot en-Valli Jan M 


Against the Wind 05) Beattv-Sianoret Foreign Sept 965 

Black Book, The (89) Cummings-Dahl 9-13... Aug 926 

Details under title: Reign of Terror 
Black Shadows (62) Dcoumentary July ...944 


Aug 10-10 

Jnne 4-14 

.Aug . . r 62 

Oct 955 


Blaze of Glory WcAllister-Butler 11-7 

Dedee Sion-rt-Dalio Fofeign 

Down Memory Lane (72) Mack Stnnett Shorts 

Duel I" the Sun (T) (138) Jones-Cotten 3-19 

Easy Money (94) Gynt-Prire Foreign 

Fighting Redhead Rannon-Stewart 6-20 

It's A Small World Kosh-ta-Dale 

It's Wi-ider c wit er Wiiakn . .. 5-12 

Once Upon a Dream (87) W t' e-s-Jooes Foreign Sept.... 942 

Place of One's Own (94) Mason-Lo:kwood Foreign Sept . . . 961 

Portrait of Jennie (SRO) (86) Jones-Cotten July 

Prizefighter and the Cowboy, The (C) . Bannon-Nova 9-12 

Quartette (120) Baddely-Bogarde Foreign ..May 915 

Ra-'pag- Mitch lt-L«no 12-22 

Story of G.I. Joe MeredHh-Mitchum .... Reissue . . Sept ... 006 

Tomorrow Ynu Die Inland-Ryan 5-12 

Trapped (78) Briiges-Hoyt 7-4 

Waterloo Road (77) M : l's-Grang-r Foreign 

Weaker Sex (85) Pa krr-Jeans Foreign 

Woman in the Hall (S3) Jeans-S mmons Fore gn 

Zamba (75) Hall-Vincent 

. Aug . 
. Aug . 

Oil . . 10-24 




004 . 10-24 



COMPLETED . 1949-50 

Title — Running Time Cast Details Rel. No 

'C'-Man (75) iagger-Carradine 

Cry Murder (94) Mathcws-Lord ■ 

Daughter of the West (C) (77) Vick-rs-Reed 9-27 .2-15 4-11 

Flying Sauce,- Conrad-Garrison 

Four Days Leave Wil'e-nay 

Frustration (90) Lowenadler-Fridh ....Foreign 

Good Time Girl Kent-Robson Foreign 

Guilty Bystander Sco't-Eme-son 9-12 

Inner Sanctum (62) Hughe.-Russell 7-19. . .9-48. . ... 

Lost Boundaries (97) Pearson-Frrrer 

Lovable Cheat. The (77) tucgles-Gamer 1-31 4-15 

Nor Wanted (91) Forrest-Braille 3-14 

Pirates of Capri (94) Hayward-Barnes ■ • ■ ■ 1-30 

Proiect 'rX" (60) Colton-Andes 10-7 

Rapture Langan-Albin • ■ • I 

Search for Danger (63) Calvert-Dell 1-3 4-* 

Vicious Years Coek-Merritt 

Wind Is My Lover, The Lindfors-Kent 


. .5-9 




1948-49 Features 


Completed (36) In Production (0) 

r v." '.CASE CHART 

Title — Running Time Cast Details Rel. No 

COMPLETED 1949-50 

Apache Chief (60) Curtis-Neal 11-4 4824. 

Arson, Inc. (60) Lowery-Gwynne 3-28 ... 6-24 . . 4819 . 

Baron of Arizona. The Price-Drew 11-21 .3-13 4902 

Call of the Forest Lowery-Curtis 11-18 .4821 

Colorado Ranger Ellison-Hayden 3-11 

Crooked River Ellison-Hayden 11-21 2-25 .4925. 

Dalton Gang, The (59) Barry-Lowery 8-15 10-21 ... 4913 . 

Deputy Marshal (73) Langford-Hall 7-18 10-28. .4905 

Everybody's Dancin' Coolcy-Jackson 12-19 ...2-11 

Fast on the Draw Ellison-Hayden 1-2 4-1 

Grand Canyon (65) Arlen-Hughes 5-23 . .8-12 4822 



.Ilywood Varieties ?,'! l - a " Ho 3 sie I Ho,sho,s n o c H» 4916 

Elhson-Hayde:i 12-5 .3-18 




>stile Coun;ry 

arshal of Heldorado tl 

.oration Hay I ft Brown-Hayden 1-16 4-15 

idar Secre. Service Howard-Jernins 1--8. 

i Desert Barry-Holt 8-15... 12-3 

,, gsi de (62) Barry-Brown 4-25 7-1 1 

[yliner (61) Travis-B'ake 5-9. .7-28 

uare Dance Jubilee Thurston-Hicks .7-9 

icre Is No Escape (63) Barry-Hughes 8-1^. 11-11 

ugh Alignment Barry-stele 12-17 

easure of Monte Cristo (78) Langan-Jergens 6-6 10-14 

est of Bra;o, El ison-Hayde., 12-19 .3-2 

estern Pacfic Agent Tay.or-Ryan 1-2... 2-18 

. 41 17 . . 

4' 14 
. .4820 

. .4"23. 
. . 4826 . 
. .4903. 
. <915. 
. 4903. 




1918 49 Features 

Completed (41) 

In Production (9) 



Tama — Started Jan. 25 

ast: Dick Powell, Ricardo Montalban, June Allyson, 

Barrymore, Teresa Celli 
irector: John Sturges Producer: Armand D 

ory: Not available. 

rama — Started Jan. 26 

'ast: Lana Turner, Wendell Corey, Ann Dvorak, Louis C 
irector: George Cukor Producer: Voldemar V 

iiory: Tempestuous love life of a New York model. 


Title — Running Time 


1 her of the Bride, The 

Hi (T) 

tf Soloman's Mines (T) 

I ilver Sequel, The 

ree Little Wo-ds (T) 

ist of New Orleans, The (T) . 





Inn's Rib (101) . 
/!>□ h (?9> 

■ tlenrrund (118) 

f Hangover, The 

ttk Hand, The (90) 

Jetals under title: The Knife 

tsscms In The Dust 

Bier Incident (92) 

Cllenge to Lassie (T) (76) .. 
C ipirator. The 






1-16. . 


... 1-30 . . 


. . 1?-1 . 

11-7 . . 

.Garson-Pidgeon . . . 

. . . 10-10 . . 

. . .12-10. . 

Grayson-Lanza . . . 

1-16 . . 


1-16. . 



. Nov. 



Tnylor-Hotiak . . . . 

6-20 . 


. 1-2 



. . .11 21. . 

. Joniron-Hodiak 

4-25 . 

. .Jan. . 

. . .16. 




8-15. . 

Mar. . 

. 20 






M"rp' , y-IWo"talban 


. .6:t. . 


. . 8-2) 

. Gwynn-Lassie .... 

1-7 . 

. Dec . . 

. . .10. 

. .11-7 

. Taylor-Taylor .... 


. Mar 





9-26 . 

0 or and the Girl, The (98) Ford-Leigh 

letails under title: Bodies and Souls 

• less of Idaho (T) Williams-Jchnson 11-7 

ft Side, West Side (108) Sanwyck-IVason 8-1 

1 uder in the Dust (87) Jarman-Brian 3-14 

Jiinv Fa-er (107) Turner-Taylor Reis r ue 

K To The City Gab'e-Young 8-1 

Karne Bovary (114) Jones-Mason 1-3 

aaya (96) Tracy-Stewart 2-28 

ictalls under title: Operation Malaya 

I Mtcry Street Mmtalban-Forrest 11-21 

I Hey Goes to Rio So'.hern-Powell 

I «r 

5-9 . Sept 3 .9-12 

Feb 14. .1-16 

Feb 9. 10-24 

Dec 15 

Feb 18 

.Aug. . . .931. . .8-15 
Jan 12 .1-16 

the Town (T) 

• iders (T) 

Use Believe Me . 
■ Danube. The ( 

, Kerr-Johnson 

Sint Garden. The (92) O'Brlen-Stockwell 

SJJow On The Wall Sothern-Scot .. 

Si Street (83) Grainger-O'Dor.nel 

Siper Surprises His Wife, The Walker-Leslie .. 

IH In My Crown McCrea-Drew ... 

T iion (95) Tot'er-Bashart-Charrise 

II Forsyte Woman (112) Garson-Flynn 1-3 

Tl Midnight Klis Grayson-lturbi 

Viiw Cab Man, The Ske'ton-Beckett 


Git Sinner, The (110) Peck-Barrymore 

•n he Good Old Summertime (102) .... Garland-Johnson 


. Mar 




. . Dec 



. 8-1 . 

3-14 . 

. . Oct . 


. .9-2S 


10-2 . 



. . . 5-9 

. 4-25 . . 








. Nov 

11 21 


Sept . 



. Apr 


. Ju'y. . 


. 6-6 


.May . 

. .925. 

. .4-2" 


. . Aug . . 

. .923. 

. .7-11 


.July. . 


. . .7-1 

2-14 . . 


. . .7-4 


July. . 


. .4-25 


1949-50 Features 

Ulied Artists 

Completed ( 8) 
Completed ( 5) 
Completed ( 8) 

In Production ('A) 
In Production (1) 
In Production (0\ 



"imedy— Started Jan. 22 
I st : Joe Yule, Renie Riano, June Harrison 
loducer: Barney Gerard Director: William Beaudine 

Try: Jigfjs and Maggie visit a dude ranch. 


tstern -Started Feb. 1 
Cst: Whip Wilson, Andy Clyde, Reno Browne 
irector and Producer: Wallace W. Fox 

Jiry, Not available. 


2- 12 
. 1 22 


. .4-9. 
. 4-23 . 
. .2-5. 

3- 19 

4- 30 




Drama — Started Feb. 1 

Cast: Robert Clarke, Margaret Field, Nana Bryant 

Director: Paul Landres Producer: David Diamond 

Story: Not available. 



' i :» i urn Cast Details 

Square ranee ! aty Vag e-Davis 1-30 .. 

COMPLKTEU 1949-50 

Bio li e Dy amite G rcey— Hall 12-19 .. 

Blue Grass of Kentucky Wi li~m -Nigh 10-24.. 

Bordrr I enegade Brew !-Terhane 12-19 .. 

Details u :der ti le: Rearing Trails 

Fe cc i idcr, Wil on-"lyde 12-5 

Gun Rna- in Ros'diill Wilsoi-C! de 

Henry Does It Again Raymond Walburn 

J "CPs ?n\ Maigie 0 t We.t Vule-R ano 

Joe Paloo!:a Meets Humphrey Kirkv.ojd-Errcl 11-7.. 

K Me- hark IW D we l-Norris ... 11-21 . 

Mystiry o Burl-cq e Mar h-"Vrtwee Fore gn 

S'x-G n IV e a Brovn-Trhuns 

Siua e Dance Katy Vague-Davis 

Details under title: Murder in the Air 

We?t of Wcm'n- Brcwn-Davis 

Yojng Ca.i:el Bcone (C) ^ruce-Miller 


Anoels in D snui e (63) Gcrcey-Ha'l 7-4. 

Black MidngM (66) McVwall-Thomas 7-4. 

Bomba on Panther Island SheffieM-Beebe 10-10 

Forgotten Women (65) Knox-Lynch 4-25. 

Hiunte Tra I (60) Wilson-Clyde 7-4. 

Jiogs a-d "ag-> in Jackpot Jitters (£6) Yule-K a ,o 7-4 

4501 . 

4 C 46. 


4909 . 
. 4911 

.49 2. 


Joe Palooka in the Counterpunch (74) Kirkwood-Knox 3-14 

Lavles Cfle '58) Wnkely-Taylor 

Masterminds Gorciy-Hall 

Range Justiee (57) Brown-Terhune 5-23 

Details under title: Cattle King 

Rnnne - ( 6 Wilscn-Browne 

Riders of the Du'k (57) Wilson-C yde 

Roaring Westward (55) Wakeley-Taylor 6-20 

Trail of the Yukon (67) Grant-Dalhert 6-* 

Wolf Hunters, The Grant-Clayton 9-12 

I / / !hl) ARTISTS 

Ma^sa re River (78) Madson-Calhoun 

De ails under title: When a Man's a Man 

My Brother Jonathan (105) Den son-Gray Foreign 

S ampede (78) Cameron-Storm 10-25 a Girl in My Heart (86) Jean-Cyan 8-1 

. . 10-2 
. .7-17. 
. . .9-4. 

. .8-14 
. 12-4 
. . . 8-7 . 

12-25 . 

. . 9-4. 
. .7-31. 



9-27 . . . 7-20 

. . .7-6 
. 8-1 





1940-50 Features 

Completed (25) In Production (2) 





. 2-50 

11-11. . 4905 




Comedy— Started Jan. 30 

Cast: Marie Wi'son, John Lund, Diana Lynn, Corinne Calvet 
Director: Hal Walker Producer: Hal Wallis 

Story: Irma and her friends visit a dude ranch. 



Title — Running Time Cast Details 

Unim S'ation Ho'den-Fitzrerald . 1-30 

COMPLETED 1949-50 ■ 

After M d ight I add-Heni<rix 2-28 

Captain China Payne-Russell 4-25. 

Chicioo Deadl ne (87) Ladd-Rced 8-16 

Details under title: One Woman 

Copper Canyon (T) MIMand-lamarr 4-25... 

Dear Wife (88) Holden-Caulfleld 1-17 2-50 

Eagle and the Hawk, The Pay:e-Flem;ng 8-15 .5-50 

Fancy Fa-ts Hope-Ball 7-4 

Details under title: Where Men Are Men 

Furies, The Stanwyck-Corey 12-5 

Hei-ess, The (11") deHavllland-Cllft 7-5 

Lcwle;s, The 

Oe ai's unde- ti le: Outrage Carey-Russell 11-7 

Let's Dance (T) Hu'ton-Astaire 7-18 

Lie. The Stanwyck-Lund 6-6 5-50 

Det'Ms unocr title: I Married A Dead Man 

Mr. M:sic Crosby-Hussey 11-7 

Pah in F II (J05) Scrtt-Cummings 10-25 

Place In The S' n, A Cl ft-Win'ers 10-24 

R"d Hot -nl Bl e '84) Hutton-Mature 1-31 .. 11-25 ... 4"06 

R'ding Ki-h '1J2> Crosby-Gray 3-28 

Rope of Sand (105) Lancastrr-Calvert 2-14 

S^mscn and DcHah IT) (128) LalMUT-Matari . 

firte h«- Fonta'nc— Co'ten 

Ralns-Hendrlx 2-2 



Song cf S irender ('.3< 

• 11 'd"i 1:11c: Ibha I. Dfar Heart 

Sun et Bn'ilevard Holden-Swanson 4-25 

Tte'na Ji don (100) Stanwyck-Corey 2-28 

Top 0' t'e IWo-nlng (f9) C-o-by-Blythe 11-22 

Uni'ert states Ma i Ladd-Calvert 8-15 

Details und;r title: Postal Insrector 

3-50...4ri5 1-16 

.4-. r O. . 1-30 
.9-23... 4902 7-4 

10-25 11-21 

. 8-29 

10-25 . .4904 .9-26 

l-ro 11-21 

. 9-5 .4901 8-15 



Title — Running Time Ca<t Details Rel. 

Bink Dirk (72) Fie'ds-Merkel 8-49 

Double Alibi (61) Morris-Lindsay 8-49 

Uracula's Oaugl ter (71) Kruger-Holdcn 7-49 

Frisco Sal (94) Foster-Bey 9-49 

Fury At Sea (92) Tone-Carroll 9-49 

Legion of Lost Flyers (63) Lund gan-Carson 9-49 

Never Give a Soeker an Even Break (7) . Flelds-Jran 8-49 

(right Monster (72) Lugo-I-Atwill 7-49 


V K H K I A R Y 13, 1950 

Spy R,ng <fl) 

Sun Ne.e,- .et,. The 96) 

You Uan't Che t an Koi est Man (7S) 

W;m - Hil 8-^9. 

. . a rb.'.n s-R 

. ,• itl 10-49 

1849 50 Features 


Completed (16) 
Completed (0) 
Completed (10) 

In Production (0) 
In Production (0) 
In Production (1) 



Western — Started Jan. 27 

Cast: "Rocky" Lane, Eddie Waller, Martha Hyer 

Director: Fred Brannon Producer: Gordon Kay 

Story: Not available. 


COMPLETED 1949-50 

Title— Running Tlmr ^asi iimsmI 

Arizona Cowboy r\m 4-25 

Avengers, The '.vrnll-Ma'a 3-14 

Belle of Old Mexi;o (Tr) . Rodrruez-Ro.kwel] r -?9 

Bells of Coronado (Tr) Rogors-Evans 8-1^ 

Blonde Bandit, Th? RDCkwell-Patrick 9-26 

Fede-al Arents at Laroe Taylor-Patrick . 

Fighting Kentuckian, The (100) Wayne-Ralston 3-28 

Details on'ier title: A Strange Cara-a-, 

Gonnien of Abilene L"e-Waller 11-7. 

Hills of 0' I -noma "Ilin-R sdan ?-"0. 

Kid from Cleveland. The (89) ... B-rn-Bari 6-6. 

Pioneer Marshal Hale-Hurst 9-26 

Port cf Mrsim Men "e n n--Tcw:rs 12-1 

Powder River Rustlers (60) Lane-Walter 9-1? .. 11-25 ... 4961 . 

Redwood Forest Trail Allrn-Donncll 11-7 

RVck Island Trail (C) Tuc'ier-Mara I -12 



. . .3-8. 

■' 06 

.10-5 4902 



. V 01 




) . 

re -■Mara 
E lii't-Booth 



10- 24 

11- °1 
.]"-! . 




Sands of Iwo Jima (110) 

Savage Ko.-de, The 

Details under title: Crosswin't'. 

Singing Gjns <C) IVtonroe-Raines 

Soeth of Rio l-»' 

Tarnished Pat-ick-Lydoti 

Tr gg r. Jr »0"-rs E va is 

Twilight in the Sie-ras Rows-Evans;ked Fu'lsr- Rockwell 


Alias the Champ ftockwe l-Georgp 10-15 

Bandit King of Tetas Lanc-Wflr . . 5-23 "-29 

Brimstone (Trj . . Cameron-Booth 4-11 8-1- 

Down Dakota Way (Tr) (67) Roge-s-Evans 3-28 

Flame of Youth (60) Fuler- Nolan 6-20 

Details under title: High Sc' 0 I Daugh'ers 

Flaming Fury R?b(rts-Cooper 4-25 > rve.tlgator .. Lane-Ford 2-28 

Gclden Stallion, The (Tr) (67) Rocers-Evans 5-23 

Navajo Trail Raiders Lane-Wr.lter 8-1 

Po»t Office Investigator (60) Do:g!as-Ung 6-5 

Ranger of Cherckee Strip Hale-Hurst ... 8-15 

Red Menace, The (87) Rockwell-Axman 

San Antone Ambush Hale-Hurst 8-15 

Wcm n from Headquarters Huston-Rockwell 1-30 

Wyoming Bandit, The (60) Lane 4-25. .. 7-15 




. 9-22 

. .9-1. 

. 11-4 . 




843 .9-26 
.816 10-10 





815 10-10 




.865. . .8-15 


1949-50 Features 

Completed (46) In Production (4) 



Drama — Started Feb. 3 

Cast: William Bendix, Victor Mature, Terry Moore 
Director: Ted Textlaff Producer: Warren 

Story: Not available. 



Ti'le — Running Timr 

let Pilot (T) 

Sons of the Musketeers (T) 
White Rose fo- Julie 


3iej Steal, The (71) 

Stagecoach Kid (60) 


Cast Details 

. V-ay e-Leg'i 12-1" 

Wiiile-O'Hara 1-2 

IVit'h :m -remergne . .1-16 






Pe'ails under title: In erfirencp 
Foil w Me fuietly (59) 

Mys'erioi's ri rera^o (61) 
Savage Splendor (T) (60) ... 




. . .1-17 







. .8-30 


. . 5-23 



4-11. . 


'. .8-1 




. .12-6 




0 Oonnfll-i ran "P' 


.... 7-5 


. . .5-9 


Strange Ba gain (68) 

Details under title: Sam Wynne 

Masked Raiders (60) 

They Live By Night (95) 

Detail! u<der title: The Twisted 
Woman On Pier 13 '73) 

Detai's nn'ter title: I Married a Common ist 
r:rf/lFjp FOUR 

Danrerous Professioi (79) Raft-O'Brien 5-9. 

Details under title: The Bail Bond Story 
HoU'av AfMr (87) Mitchum-Leigh 8-1. 

Details under ti'le: Christmas Gift 

R'«"»r. of »l-e »-n-e (60) HHt-Martin 5-9 

Threat. The (66) 0'Sh;a-Grey 6-20 

Details under title: Terror 






Alice In Wonderland (T) Disney Cartoon 

Arizona AmLush Hoi. -Martin 7-4 

Jed of Roses ponta ne-Ryan 7-4 

B ' ln d Spot Colbert-Ryan 11-7 

Capture, The Ayres-Wright 8-29 „ 

Carriage Entrance Gardner-Mitchum ... 10-10 

Code 3 McGraw-Jergens 1-30 JJ 

Corns Share My Love Dun'ie-MacMurray . . .12-19 

Dynamite Trail Holt-Martin 9-26 

Edge of Doon Ani-rcws-Granger 12-3 M 

Gun Thunder Holt-Martin 10-24 

Ill Only Money Sinatra-Ritiell 12-6 

vuo wtdiie^a, .8ui lluyd-tia.uuru Stg 3-3 

itev. under i.ile: Sin of Harold Dlddlebuck 

Outlaw. The Hnstell-Beatel 

Range War Toll-Martin 8-1 

Stromboll Bergman-Vltale 5-9 

Details under title: After the Storm 

Tarzan and the Slave Girl Barker-Brown 9-12 

Treasure Island (T) Driscoll-Newton 

uiium Arizona Skies rtult-Lnlii »-l 

vendetta ... Debenrg. --trooks 8-1V Hf» 

w>ep No More i e ten Valli 5-10 

White Tower, The Va l.-Ford 8-29 

Oir Very Own Granger-Blyth 9-12 

D tails under title: With All My Love 

Bride for Sale (87) Colbert-Young 3-14 U>T 

Details under title: Love Is Big Bus ness 

Cinderella (T) (70) Ois ey Cartoon Feature 1 

Ichabod and Mr. Toad (T) (68) Disney Cartoon 9 12 

Man on the Eiffel Tower (T) (97) Tone-la rhton 1-2 

Mighty Joe Young (94) . Johnson-Armstrong 1-5 6-6 

Detais under title: Mr. Jos. Young of Afrka 

Ms Foo'i h Heart (99) Andrcws-Hayward 7-4 11-7 

Rosca-na Mr'ov (8 ) Granger-Evans 11-22 8-29 

She Wore a Yellow Ribbon (T) (103) Wayne-Dru 11-22 8-1 



Completed (6) In Production (0) 



Tile — Run-ing Time Cast 

Failtn Idol, The (S4) Ri< Irrdsoi-Morgan 

Gone To Earth lone -F-rrar 

Third Man. The (104) Crttcn— Valli 

Details Rel. No. 

Foreign 11-15 


Foreign . . 1-15 


195 ) Features 
1949 Features 

Completed (22) 
Completed (44) 

In Production (3) 
In Production (0) 




Title — Running Time Cast Details 

Outbreak WiJmark-Bel Geddes ... 1-2. 

Rawhide Power-Hayward 1-30 

Where the Sidewalk Ends Andrews-Tierney 1-30 

COMPLETED 1949-50 - - 


Big Lift. The Clift-Douglas 

Details under title: Two Corridors East 

Black Rose, The Power 5-23.. 

Broken Arrow Sttwart-Paget 6-20 

Details under title: Arrow 

Caribou Trail, The Scott-Williams 9-12.. 

Challenge, Ths R^on-y-Tyler 1-30 

Cheaper By The Dozen (T) Crain-Webb 11-7 .. 

Come To The Stat-le (94) Youn^-Holm 1-3.. 

Everybody Does It (98) Darnell-Douglas 3-14.. 

Fan, The (79) Crain-Sanders 7-19.. 

. Sco't-Jory 6-20.. 


. G-ant-Sheridan 11-8. 

Peters-Romero 7-4 . 


Fighting Man of the Plains (C) (94) 

Forbidden Street, The (91) Andrews-O'Hara June. 

House of Strangers (101) Robinson-Hayward .... 12-20. . . July . 

Details under title: East Side Story 
I Was a Male War Bride (105) . 

Love That Brute 

Details under title: Turned Up Toes 

My Blue Heaven (T) Gr?b'e-Da'ley 12-19 

No Way Out Darnell-Widmark 11-7. 

Oh. You Beautiful Doll (93) S evens-Haver 1-3 

Pinky (102) ... Crain-Lundigan 3-28 

Prince of Foxes (107) Power-Hendrix 11-8 








523 . . 8-15 

Nov. . 
Nov . 

. . Dec . . 


. 8-29 

Thieves' Highway (94) 

Details under title: Hard Bargain 

Under My Skin Garficld-Prelle 

Dj'ails unier title: Big Fall 

i l' lames' Sand (T) (77) Stevens-Gray 

fnii're M» Fvfvthi"n (T) (94) Dailey-Ba-ter 

D;-.''nta Lil (C) (88) Mont-omery-W 

Conte-Oakie 11-22 


Avg. . 


11-22 . 

. . Oct . . 

. .924. 


10-10 . . 

. Mar. . 



July. . 

. .918. 



. Aog . . 

. .920. 

. 7-4 


. 00". 


4-11 . 

Jan. . 

. 001 


Peci<-Parker 10-10 

McGJirt-Lundigan 6-20 . . Mar. 

Deta'U under title: The Bandwagon 
Gun Fighters, The 

Mother H dn't Tell Me (88) 

Details under title: Oh, Doctor! 

fj i -tit nrnl the City Ticrmy-WidmtTk 8-29 

Three C-mc Hore (1C6) Col'-ert-Mars'iall 5-9. 

Tirkf to Tomah-iwk (T) Dalc--?a~ter 8-29. 

Twelve O'C'ock High (132) Peck-Mitchell 5-9. 

Wabash A enue Gr'ble-Mature 6-6. 

a/hen Willie Comes Marching Heme (82) . . Da le -Cal»e t 7-4. 

Whirlpool (97) Tierney-Conte 




. Apr. 

. 001. . 
. 010. . 
.003. . 

Jaan. . . 002. 


. 12-S 




1949-50 Features 

Completed (21) In Production (0) 

1919-50 Features 

Completed (29) In Production (4) 




Cast Details R-i 
Romero-McDonald 11-21.... 


A g 




Tl'le — Running Time 

Admiral Was a Lady. Tho 

Details under title: The Iron Ca;e 

Big Wheel, The (92) Rooney-Mitchell 7-4 11-5 

Black Magic (105) We'.'o-Guild 

Champagne (or Caesar Co'man-Holm 8-2 

Deadly Is the Female (84) Cumm ns-Dall 7-4 

D. 0. A O'Brien-Brltton 9-12 

•scape If You Can Henreid-MeCleod Danz 

Here Lies Love Young-Drake 11-21 ... 

Name ot the Braye (85) . Edwards-Bridges 3- ) 6-17 . ...Kr 

ndlan Stoat (71) Mon'gomery-Drew 7-5. . . .1-7 Sml. 

Iroquois Trail, The Montgomery-Marshall .10-24 

«*nny Holiday Bendlx-Martin 8-1 Aleo 

•tinny Oao-fye O'Brien-Morris Bag 

(1st For Corliss (88) Tentple-Nlven 7-4 11-25 ... M-L 

•vt Happy (91) Marx Bros 8-2 8-5 P-C 

••tails under title: Blond* Heaven 

den, The B-at"o -Wr'jM 11-21 ... 

drs. Mike <S9) Powcll-Keyes 7-4. 12-17 Bis 

Ince A Thief Hen ri -O'Brien 1-2 

Details under title: Once Over Lightly 

aleksand R-o-ry-'aoney 3-28 R-S 

hipped, The Duryea-Storm 9-12 

1948-49 — — 

alsr Paradise Boyf-1 ok- 9-1 

rttt Dan Pateh, The (95) Rissrll-O Keete 12-6 

H Light (83) Mayo-Raft 3-14. 

itan's Cradle Carll'o-Renaldo 8-15 

M Late far Tears (99) Seott-Duryea 9-27 7-8 Sma 

ithout Honor (69) D;y-To:ie 10-21 Hak 



. . . PB 
.7-22. . Nas 
. 9-30 . Rdr 



1949-50 Features 

Completed (25) In Production (1) 



'omedy — Started Feb. 2 

'-ast: Spring Byington, Ronald Reagan, Ruth Hussey, Charles 

Hrector: Alexander Hall Producer: Robert Arthur 

tory: Middle-aged widow surprises family by falling in love and remarrying. 


IOMPLETED 1949-50 - 

Tltl« — Rannlng Time Cast Details Rel. No. Re». 

Jam and Evalyn (92) Granger-Simmons Foreign . . . Dee . 

gdad <T) (82) O'Hara-Christian 6-6 Nov 903 .12-5 

se Lagoon, Tho (T) (101) Jean-Simmons Foreign. . .Aug 8-15 

rdertne MacMu-ray-Tre-.or Feb 909 

iccanter's Girl (77) dcCarlo-Friend 8-15 Mar 912 

iptain Boycott (92) lenie-Kirby 4-r6 

minche Territory (T) O'Ha.-a-Carey 8-29... May. 

Details under title: The Bowie Knife 

iifldential Sqoad Con'.o-Gray 11-7 

Details under title: Web of tho City 

tain Call at Cactus Creek O'Cnnnor-Arden 2-28 

ep End. The Mason-Toren 12-5 Apr 

Details under title: Death on a Side Street 

'sorted Toren-Chandler 10-10 

Kble C ossbones O'Connor-Carter 10-10 

ee For All (83) Cummirgs-B'ythe 7-4 ... Nov ... 901 11-21 

»ncis (91) O'Connor-Pitts 5-23 ... Feb 910... 1-16 

laa'tt (153> Olivler-Hrrlle Fortlfa 7-19 

Was a Shoplifter Brady-Freeman 11-7... May 

i From Texas Murphy-Storm 6-6. . . Mar. . . .911 

i and Pa K-'tle Go To Town (79) Main-Kilbi ide 8-29 . . .Apr 

tslde the Wall Basehart-Mavwcll 9-26 . . . Mar .913 

gged O'Riordans (76) 0' Malley-Pate Jana ... 907 

Ifra Murphy-Hendrix 9-12 

Details under title: East of Java 

uth Sea Sinner (88) Winters-Carey 7-1... Jan 908... 1-16 

"V of Molly X. The (100) Havoc-Brady 8-1 ... Nov 902 11-21 

ght Little Island (81) Badford-Greenwood . . . Foreign ... Dec 

'dertow ( 70 ) Brady-Russell 8-29 ... Dec .... 904 . 12-19 

Details under title: Frameup 

man In Hiding (92)) Lupino-DuR 8-15 . . Jan ... 906 

Details under title: Fugitive from Terror 


undoned (79) S'orm-O'Keefc Oct 707 

* C Meet the Killer, Boris Karloff Abbott-Costello 2-28 Aug 

:t!e Manhant (69) Conrad-Thorston May 

larnlty Jane and Sam Bass (T) (85) . . .deCarlo-Daff 10-25. . .Jily 

rlstopher Columbus <T) (104) March-Eldredge Ott 

y Aeross the River (90) Curtis— Jaackel 10-11... May 

Details under title: Amboy Dukes 

■did', Fussln' and Flghtln' (78' O'Connor-Main 3-1 .July ... 665. 

Details under title: The Wondertal Race at RinTcek 
Who Took the West (T) (84) DoCarlo-Brady 2-14 . Sep 

6<»5 . 
. 699 .... 6-6 
.708 10-24 

. Duff-Tor i-n 12-20 

. Duff-Winters 4-11. 

Details under title: The Western Story 

igal Entry (84) 

inny Stool Pigeon (75) 

Details under title: Partners In Crime 

ly Gambles. The (99) Stanwyck-prostan 12-20 

la-Eater af Keae.ian (79) Saka-Pafe 12-22. 

'ee More, My Darling (92) Montgomery-Blyth Aug 

e Woman's Story (86) Todd-Rains Forelin ..Jana... 

, ord In the Desert (100) Andrrws-MtNally 3-14 . Oct 

bs Sir, That's My Baby (82) O'Connor-DeHaven 1-3... Sao.. 

Voman Hater (69) Granger-Fovlllera Farelfn . . Jaly. 

. June 

.Jane. . 
.Jily . 







Drama- Started Jan. 24 

Cast: Gregory Peck, Virginia Mayo 

Story: Adventures of fictional sea captain. 

Director: Raoul Walsh 

Drama — Started Jan. 30 

Cast: Richard Todd, Ruth Roman, Mercedes McCambridge 
Director: King Vidor Producer: Henry Blanke 

Story: Not available. 


Drama— Started Feb. 4 

Cast: Steve Cochran, Gaby Andre 

Director: Andrew Stone Producer: Bryan Foy 

Story: Not available. 


COMPLETED 1949-50 ■ 

Title — Running Time vist Petail. Rcl. No Rev 

Srhn-Reynolds 8-20 

Berl?-Mayo 8 1 11-"*; 01 l"-5 

Lindfors-O'Brien . . .8-16. . .2-11. . 115 1-30 

After Niflhtf-ll 
Always Leave Them 

Back"ire (il) .... 

Laurh ng (US) 

'e: Somewhere In the C t» 

De'alls under 
Barricade .... 
Beyond the Forest (96) 
Bright Leaf 

Cage, The "arker 

Casablanca (102) Bogart 

Coo er-N al 




10-22 . .906. . .11-7 

Castle on the Hudson '77) Garfield-Sheridan 

Chain Lirh'ning (f 4) Boort-Parker 

Colt .45 (T) Scott-Roman . . . 

Daughter of Rose OTray (T) Haver-MacRae 

Farewell to Arms (78) Hayes-Coo n er 




Rr tine 



. . fi-6. 

. .2-25. . 

. .905. 2-13 




12-10 . 

. . r C9 

. .11-7. 

Rei sue 

Hasty Heart. The <90) Re-gin-Neal . 

Hatche man, Th? (74) Robinson-Young 

Hawk and the Arrow, The Lancaster-Mayo 

Hoase Across the Street 169) Morris-°aiiie 8-16 

Inspector General. The (T) (102) Kaye-Bates £-33 

Details under title: Happy Times 
Lady Takes A Sailor, The (99) Wyiran-Morg n 

Details under title: Octopv and Mis-. Smith 
Mon'ana (T) (76)) Flynn-Smith 



3-28 12-24 





McCrea-Mayo 5-27 


. Reissue 

. . 7-4 , 


North of the Rio Grande . . 

D tails under title: Calorada Tentory 

Per'ect Strangers Rcqers-Mornan 

Pretty Baby Sro't-Morgan 

Return of the Frontiersmen ... . MacRar-Calhoan 

Sergeant York (134) Cooper-Brennan 

Silver Lining (T) H»» r-BB'mi 

Mage Fright Wyman-nietrleh 

Storm Warning Rogcrs-R'agan 12-5 

Details under title: Storm Center 
Story nf Seabiscult, The (T) (93) Temple-McCalllster 4-25 .11-12 

Details under title: Always Sweethearts 

Task Foreo (116) Cooper-Morris 11-8 9-24 

This Slda of the Law Llndfors-Smlth 10-25 

Details under title: "Deadlock" 

Under Capricorn <T) (117) Bergman-Cotten 9-27. 10-8 

Vict'm, The Cr~w'ord-3rian 

White Heat (114) Pagn-y-Mayo 5-23 

Young Man With A Horn (112) Doiiglas-Racall 7-18 


Colorado Territory (94! McCrea-Mayo 

Fountalnhead, The (113) Cooner-Heale 

G-Man (85) Cajney 

Girl from Jones Beach, Tho (78) Reagan-Mayo 

Look for the Silver Lining (T) (106) . . . Haver-Bolger 



Your Sprrire — Out Responsibility 


Mrmbrr Nat'l Kllm Cariirrs 

250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 

693 5- 

666 7- 1 


697 6-6 
709 8-29 




We thank all theatre owners and managers who 
cooperated with us by putting return trailers in the 
proper addressed containers and for wrapping 
and addressing all return advertising. 

We can serve all theatres better if they give us 
a copy of their program Tuesday each week. 


Don't put your return film in the lobby until all your 
patrons bare left aftiT the last shotv. 


238 N. 23rd St., Phila. 3 — 1239 Vine St.. Phila. 7 
LOcust 10100 

Member National Film Carriers 

i -ij 



.911 .12-13 
914 1-30 

907. . .11-7 
903 9-12 

904 . 9-25 

6-11 . 

824 . 

7-19 . 

. 7-2 . . 


! 7-J 



5-24 . 


828 . 

. '7-4 

4-26 . 

. 7-30 . . 



K II R U A R Y 13, 1950 




V ' 

ENLIST TODAY in the United Film Industd 
campaign to eliminate the nuisance Movie Taxi 

The job can only be done if everybody does his job in his 
own locality. Only you can organize the fight in youi 
community. Join and support the nation-wide efforti 
the Federal Movie Tax in this session of Congress! 

Contributed as an industry service by 


Century -Fo ; 

HERBERT J. YATES presents 




Screen Play by HARRY BROWN JAMES EDWARD GRANT • Story by HARRY BROWN • Directed by ALU 



Just Previewed 
in Hollywood! 

There is only one 

way to describe it! 


H^ 1 


Joe Exhibitor Speaks 



Vol. 13. No. 5 February 27, 1950 

Pajre Five 

What Are You 
Doing Today 
In the Fight 
Of the Unfair 
Ad mission Tax? 


fILM BULLETIN— All Independent Motion Picture 
Trade Paper published every other Monday by Film 
Bulletin Company. Mo Wax, Editor and Publisher. 
BUSINESS OFFICE: 35 West 53rd St., New York, 
19; Circle 6-9159. David A. Bader, Business 
1239 Vine St., Philadelphia 7, Pa., Rltten- 
house 6-7424; Barney Stein, Managing Editor; Jack 
Taylor, Publication Manager; Robert Heath, Circu- 
lation Manager. HOLLYWOOD OFFICE: 659 Haver- 
ord Ave., Pacific Palisades, Calif., Hillside 8183; 
lay Allen, Hollywood Editor. Subscription Rate: 
INE YEAR, $3.00 in the United States; Canada, 
S4.00; Europe, $5.00. TWO YEARS, $5.00 In the 
Initcd States; Canada, $7.50; Europe, $9.00. 

February 21, 1950 

Mr. Mo Wax 

Dear Sir: 

Business is oil. Mine is, and I talk to enough theatremen to know that 
the condition is pretty general. Can I mooch a column or so in your always 
interesting FILM BULLETIN to give my views on the situation? 

Why is business off? First answer you get from every exhibitor who oper- 
ates within range of a television station is that that gol-danged free entertain- 
ment is giving us a licking. Then the average guy will mention, incidental-like, 
other factors like "money s tightened up," effects of the coal strike and a few 
other such items. Finally, as though to nail down his argument, he'll usually 
end up with the blanket charge that "pictures have been lousy!" 

No question that television is a tremendous factor in our present slump. 
And it figures to become tougher competition with every new set sold, with 
every mechanical improvement in the device and every improvement in the 
quality of the programs telecast. Looming in the background is Phonevision 
and that one really has me worried. 

Money is "tighter." Them that has it are nursing it, while them that ain t 
are spending only for the necessities — which movies are not, my friend. Surely, 
the coal strike is affecting our whole economy, but we are suffering because of 
that just in proportion to all retail business. 

As to the average guy s diagnosis about "lousy product," here is one exhi- 
bitor who feels that comment is off base. Generally, the films we have been 
getting this season have been a bit above par. As a matter of fact, yours truly 
just hopes the studios maintain their present pace. Oh, of course, some of the 
companies turn out more than their share of duds, but in the main the top 
studios have been delivering plenty of fine or saleable merchandise. 

Where does all this leave us — you and I — brother Exhibitor? Agreed 
that we recognize the causes of the slump, what are we going to do about it? 
Isn't it time we started thinking only about how we might lick it? The simple 
truth is that we arc now engaged in a tough battle for the public's entertain- 
ment dollar, which is scarcer today than it has been for the past ten years and 
more reluctant to come to us. What shall we do. sit in our theatres and moan, 
or shall we go out a-hunting for customers? 

I say, let's go into their homes after 'em! 

For a long time we were fortunate in that millions of folks had the "movie 
habit." Well, it's no longer habit that brings them to your boxoffice. Ifou 
have to interest them, coax them, entice them out of their cozy living rooms. 
Let's think about how we can do that. 

The film companies must wake up, and fast, to the value of television 
advertising for films. Special trailers for the small video screen and with copy 
directed at the television stay-ins should be made available on every worthwhile 
picture, not merely on an occasional special production. Distributors and lead- 
ing local exhibitors in every territory should work out some cooperative plan 
for sharing the cost of showing these "teletrailers" at frequent intervals on 
eveiy channel. 

Since millions of people who used to read newspapers and magazines in 
the evening now focus their full attention on that miniature screen after dinner, 
what better way is there for reaching them with the movie message? Who can 
tell — it might turn out that television will prove to be the greatest advertising 
medium the motion picture ever had! 

Another proven means of reaching into the homes to sell vour attraction is 
door-to-door distribution of circulars. 1 note that National Screen Service i- 
plugging this form of advertising and tbcv are to be congratulated on prodding 
exhibitors into reviving the use of heralds. 

An industry-wide campaign on the theme: "Let's go out to a movie!" might 
be directed at the ladies, who are bound to set fed up vv i 1 1 1 hubby's ni»htlv 
sit-down strike in front of the television set. Perhaps, retail merchants, affect- 
ed as they are, too, by the sharp drop in evening shopping, might share the cosl 
of such a campaign. 

This is only scratching the surface. I haven'l all the answers, but this 
industry of ours has a huge fund of ureal advertising brains that ought to be 
turned loose l>v the big moguls to deal with this situation. What I'm trying to 
sa\ in this brief letter is that we had better go to work. \nd I mean 1I\KD 
work, brother. The exhibitor who doesn't roll up his sleeves todav might not 
have a shirt in a couple of years. Me - I'm cutting off the Bleeves of all mv 
shirts. Gangwav ! 

Best to you and your bright FB boys. Ju8l keep plugging the truth: it 
pays off. 

Sincererj . 


Volume 18, Number 5 
February 27, 1950 

Xvtrs at id Opinion 


The audience was obviously sympa- 
thetic. Although it was a long show, 
some 36 acts, the two principals repre- 
senting the motion picture industry were 
warmly .received during their allotted ten 
minutes apiece. 

The audience was the House Ways and 
Means Committee, hearing a parade of 
witnesses last Tuesday (21st) on current 
and proposed excise taxes, and the film 
indutry representatives were A. F. My- 
ers, general counsel of Allied States As- 
sociation and chairman of the COMPO 
tax and legislation committee, and Gael 
Sullivan, executive director of Theatre 
Owners of America. They were there to 
present the industry's case against the 
20 per cent Federal admissions tax. In 
addition to their oral testimony, Sullivan 
and Myers filed a 22-page statement for 
the record, outlining in detail COMPO's 
arguments for complete repeal of the 
obnoxious levy. 

Already under heavy bombardment 
from millions of public petitions urging 
repeal of the ticket tax and a mountain 
of correspondence telling why, the House 
committee members were well-back- 
grounded to receive the arguments ad- 
vanced by the two industry witnesses. 
Industry at Stake 

"The preservation of the motion pic- 
ture industry ' is at stake, Myers told 
the committee. Motion picture theatres, 
suffering from a gradual decline in box- 
office receipts ever since the war's end, 
has taken a "very precipitous decline 
over the past six months," he said, add- 
ing that weekly attendance has dropped 
from a high of 100 million weekly to 
about 70 million. The situation has be- 
come so critical, Myers declared, that 
many of the nation's theatres, particu- 
larly the smaller houses, will soon fall 
into the "hardship" category unless they 
are relieved of the burdensome admis- 
sions tax. 

Sullivan was even more specific. He 
said that some 8,000 of the nation's 18,000 
theatres can probably be termed hard- 
ship cases today. Although neither he 
nor Myers blamed the attendance drop 
specifically on the admissions tax, one of 
the Committee's own members express- 
ed the belief that this was the most im- 
portant single factor, at least in his dis- 
trict. Rep. Curtis (R., Neb.) declared 
that when the admission prices get too 
high, attendance drops. 
In Newspaper Category 

Myers advanced two other arguments, 
developments in the industry since its 
representatives appeared before the Com- 
mitten in 1917, which he said were im- 
portant fnctor S i n eliminating the tax. 
Since that time, he said, the industry has 
emerged as an "acknowledged part of the 
press" and should be treated on a par 
with newspapers and radio. 

The other development, he said, was 
the emergence of television as a "new 
strong competition, cutting materially 
into the motion picture business." He 
called TV the "most serious competition" 


Non-Discrimination . . . 

ever to threaten the industry since it 
makes its appearance when movies no 
longer have "novelty appeal." 
Want Equal Treatment 

Sullivan also pressed these arguments. 
He pointed to the $225,000,000 portion of 
the half-billion dollar Post Office deficit 
stemming from costs of second-class 
mailing over the amount paid by news- 
papers and magazines. This, he said, 
amounted to a Government subsidy of 
these media, whereas movies not only 
was unsubsidized, but was actually sub- 
ject to a discriminatory tax. "The mo- 
tion picture industry is the most over- 
taxed and the least subsidized of any 
form of communication," he said. "We 
want equal treatment with the o:h9rs." 

Sullivan also declared, "We cannot ex- 
cise tax ourselves into a prosperous eco- 
nomic situation." Removal of the tax. 

. . . // Not Subsidation 

he added, would aid in an "expanding 
economy" and might very possibly result 
in greater spending by the public that 
would make up to a great extent the 
amount lost by the Treasury in revenue 
from the ticket tax. 
Theatre Si?e Significant 

Two other Committee members voiced 
their concern over the drop in theatre 
business. Reps. S'mpson of Pennsyl- 
vania, and Woodruff, of Michigan, botn 
Republicans, spoke of the number of emp- 
ty seats in small theatres in their dis- 
tricts. These houses, they said, all had 
less than 1000 seats. Th : s was emphasiz- 
ed in the COMPO brief. "A great majori- 
ty of the theatreowners — those who are 
immediately affected by the tax — are 
small business not to be confused with 
the over-publicized 'movie magnates'," 
it was stated. "The size of theatres also 
is significant. The average seating capa- 
city of the U. S. theatres is C43." 
Poor Man's Entertainment 

In his oral presentation, Sullivan allud- 
ed to movies as "the poor man's enter- 
tainment." He said it was a sorry state 
when a low-income family was penalized 
for having many children, since the head 
of such a family paid much more in ex- 
cise taxes on movie tickets than ' L hose 
with less youngsters, whose principal 
source of entertainment is the movies. 
He called movies "the greatest morale- 
building force we have in the nation," 
stressing the need for films as "an outlet 
for tensions." The industry, he added, 
wants to "continue being the poor man's 

Following their appearance before the 
Committee, Myers and Sullivan empha- 
sized that the fight to eliminate the ax 
must be pressed with continuing force. 
In a special bulletin to TOA members, 
Sullivan urged exhibitors to "keep in 
close contact with our congressmen until 
the bill is passed." He urged all exhibi- 
tors who had not received a definite com- 
mitment from his congressman to vote 
for repeal of federal admission taxes to 
"contact him at once and make certain 
of his position." 

Victory Prospects Bright 

' Our prospects are bright," Sullivan 
said, but final victory, he added, can bo 
assured only by active support of every 

In an appearance before the House 
Committee the preceding week, Eric 
Johnston, MPAA president and repre- 
senting the National Committee to Re- 
peal the Wartime Excise taxes, struck 
out at all currently existing wartime ex- 

{Continued on AVrf ''««»•> 

REVIEWS in This Issue 

No i.^a.i \ji wer uwn A l 

Borderline 11 

Woman .<\ Hiding 11 

Young Man With a Horn 12 

The Yellow Cab Man \ l 

Captain Carey, U. S. A. 12 

Outside the Wall It 

Negvs iittii Opinion 

(Continued from Preceding Page) 

cise levies. Although he mentioned that 
he would leave the appeal for the movie 
industry to COMPO representatives My- 
ers and Sullivan, Johnston managed to 
make some specific references to the ad- 
missions tax, among which was a pledge 
that the savings effected by removal of 
the tax would be passed on by the thea- 
tres to the public. The MPAA president's 
extended comments regarding the admis- 
sions tax after his prepared testimony 
were not too well received by COMPO 
officials, whose understanding with John- 
ston that he wou'd make only passing re- 
ference to the admissions tax and leave 
the actual presentation to the COMPO 
representatives, Myers and Sullivan. 

• However, with newsreel cameras grind- 
ing, Johnston delivered his views on 
movies as a medium of public informa- 
tion, in the same category as newspapers, 
magazines and books. He also presented 


The "genuine showmanlike whirl" 
called for by COMPO tax commit- 
tee chairman Abram F. Myers was 
best exemplified by a modern Bos- 
ton 'T" Party staged by the Boston 
committee for repeal of the admis- 
sions tax. 

The current-day "T" party (T for 
Taxation - without - justification) in- 
volved more than 500 high school 
boys and girls, who swarmed over 
the historic Wharf T, scene of the 
original Boston Tea Party, bearing 
placards denouncing the 20 per cent 
Federal Tax. The youngsters, mem- 
bers of various fan clubs, dumped 
half a ton of cancelled movie ticket 
stubs into the waters of Boston 
Harbor, while the Boston University 
band played on the deck of a char- 
tered tug. 

The stunt, arranged by Charles 
E. Kurtzman, Loew's Northeastern 
division manager, and aided by film 
and theatre members of the com- 
mittee, received front-page coverage 
in Hub newspapers, as well as six- 
and seven-column photo breaks. 

the argument that the movies is the 
only form of diversion for the "modest 
income group" and other arguments 
which were to be presented by Myers and 
Sullivan. Following the Johnston ap- 
pearance, Myers drily commented: "I hope 
there is something left for Sullivan and 
myself to say." 
Discriminatory Levy 

Johnston also made a point of mention- 
ing the 15% tax on raw film stock as a 
discriminatory levy. The raw stock is to 
the movie industry "what newsprint is 
to the newspaper, or paper to the book 
or magazine publisher," he said. "There 
is no tax on newsprint. The magazine 
publisher isn't taxed for his paper, nor 
is the book publisher. But the excise 
tax on our basic raw stock costs our in- 
dustry $3,500,000 annually." 

Myers called the current campaign 
against the federal admission tax a test 
of showmanship. "This campaign, like any- 
other exploitation campaign, calls for a 
genuine showmanlike whirl. There is a 
lesson here for the future and it is hoped 
that it will serve not only to further in- 
tensify the tax campaign, but will be ap- 
plied to all theatre activities." 


The Dilemma Has Sharp Horns 


While the "Stromboli" controversy 
raged on, the most curious facet of it all 
was the embarrassing situation in which 
Ned Depinet found himself. As presi- 
dent of RKO, he was committed to safe- 
guarding the company's investment in the 
Bergman-Rossellini film by eking the 
most out of its release. As head of the 
Council of Motion Picture Organizations, 
he was pledged to furtherance of good 
public relations for the motion picture 
industry — and the release of "Stromboli" 
has evoked an anti-Hollywood barrage 
seldom equaled in film industry. Mr. De- 
pinet certainly seemed to be on the spot 
in his dual position. 

The only consolation he could extract 
from the predicament was the report (un- 
official) that RKO had recouped its entire 
investment in the film in the first week 
of its release. From now on it would 
be velvet. The big question for Mr. Depi- 
net: Is that solace enough? 
Opening Day Set Marks 

Meanwhile, exhibitors were carefully 
watching its boxoffice performance. The 
reason for RKO's reluctance to trade 
screen "Stromboli" until Feb. 15th, the 
day it had its 320-theatre opening 
throughout the country, largely in RKO- 
owned houses, became evident when it 
was finally unveiled. 

Came the fateful day and swarms of 
curious moviegoers jammed the theatres 
opening day. RKO was jubilant, issued 
a publicity release announcing a "record 
opening day business everywhere, sur- 
passing by from 100 to 300 per cent all 
previous record holders in these theatres 
during the past few years." 

Then came the drawn. Poor reviews 
generally, and unfavorable word-of-mouth 
worked their toll with startling rapidity. 
Second-day grosses dropped off sharply 
in most spots and subsequent days .found 
the picture playing to half-empty houses 
in many locations, particularly the Metro- 
politan New York area, where some 118 
RKO theatres opened the film simultane- 
ously with Broadway's Criterion Theatre. 
By the end of the first week, only the 
strong opening day grosses carried 

"Stromboli" to a "fair" return for its ini- 
tial stanza. 

Playdate Estimate Drops 

RKO's vision of getting playdates for 
the Bergman-Rossellini film in some two- 
thirds of the nation's theatres was rapid- 
ly being revised last week. Although 
admittedly the unprecedented publicity 
accruing from the Bergman-Rossellini af- 
fair had given the picture a huge impe- 
tus and a boxoffice potential that it would 
never have approximated otherwise, it 
was beginning to work in inverse ratio. 
Criticism of Hollywood, of RKO for re- 
leasing the film, and of the publicity cam- 
paign by church and women's organiza- 
tions had snowballed to monumental pro- 
portions. Theatre owners, in increasing 
numbers, were avowing their intention 
not to play the film in an effort to "play 
ball" with the pressure groups. National 
Allied's condemnation and its recommen- 
dation that inde exhibitors refuse to play 
the picture also had its effect. Reper- 
cussions had even reached the halls of 
Congress where a Texas representative's 
denunciation of the film evoked applause 
from many legislators. 

Prnicipally, however, it was felt that 
"Stromboli's" spectacular boxoffice decline 
after its equally spectacular s.r.o. open- 
ing was the contributing factor to exhi- 
bitors' reluctance to book the film in sub- 
sequent runs. RKO's saturation techni- 
que for "Stromboli" was expected to gar- 
ner a quick return on its investment; and 
that it did, but the pot of gold that would 
have been waiting at the rainbow's end, 
if the film's quality had matched public 
curiosity, had vanished. 
'No Major Changes' 

Producer-director Roberto Rossellini's 
charges that RKO had mutilated the film 
by excessive cutting were met promptly 
by Depinet with the statement that "no 
major changes" had been made in editing 
the film for release in this country. Only 
"common sense" was used in making any 
deletions, the RKO president claimed, 
adding that these in no way impaired the 
film's quality. In Rome, however, Ros- 
sellini maintained that the distributor had 
so thoroughly slashed the film that he 
was renouncing all interests in the film's 
American earnings. He denounced the 
company's publicity campaign as "bor- 
dering on pornography" and accused 
RKO brain-truster Howard Hughes of 
violating an agreement to make only 
those cuts necessary to meet U. S. censor- 
ship requirements. The Italian producer 
also lashed out at Hollywood generally, 
picturing himself as a "victim of Holly- 
wood brutality." 


The swirl of conjecture left in the wake 
of the final decree in the industry anti- 
trust case, which ordered total divorce- 
ment of production-distribution from 
exhibition, engulfed three major proposi- 
tions: (1) Which, if any, of the defend- 
ant companies would appeal; (2) Would 
any of the theatre-owning defendants at- 
tempt to reach a consent decree with the 
Government regarding divestiture, and 
(3) What are the prospects of an arbi- 
tration system acceptable to the Court 
that could drastically reduce the number 
of legal actions flooding the industry. 

(Continued on Page 10) 


Yc' Congressman To Vote 
) I peal The Movie Tax 

BROTHERHOOD WEEK— February 19-26. 
Brotherhood — for Peace and Freedom. 


. . in big city and in small city. ... Para- 
nount's smashing sea saga is making 
tirnstiles spin with that happy profit- 
nythm ! That's the story in . . . 

F ovidence 
Lttle Rock 
V f ichita 






«M« JOHN • W 

wHPf •Kfa.jrifti 

Sc ^np/ay bnevv(sff Fos(e 

IX e nvs and Opinion 

(Continued from Page 8) 

The first premise was promptly settled 
by Loew's general counsel J. Robert Ru- 
bin, who stated unqualifiedly that the 
company plans to appeal the decree to 
the U. S. Supreme Court. The basis of 
the appeal, it was expected, would con- 
cern Loew s suggestion that a review of 
the competitive situation in the industry 
after suitable divestiture at the end of 
three years be taken and the divorcement 
order be rescinded if the results revealed 
that competition had been restored. Ap- 
peals must be filed by April 8. 

Showcase Theatres 

Appeals by any of the other theatre 
defendants, it was believed, would hinge 
on whether they could arrive at a satis- 
factory divestiture arrangement with the 
Government and whether they would be 
permitted to have showcase theatres. 
The latter, it was argued, would be of 
invaluable aid in determining suitable 
rental figues for their product, as well 
as insuring a proper sendoff for their 
important releases. 

Both Warners and 20th-Fox were con- 
tinuing their discussions with the Gov- 
ernment in an effort to arrive at an equit- 
able divestiture settlement. Warners, 
however, promptly withdrew upon expi- 
ration the option they had extended to 
the syndicate headed by the Lehman 
Bros, for purchase of the 25 per cent 
stock interest of the three Warner broth- 
ers in the new theatre company which 
will be formed following divorcement. 

"Cheap, Workable" Arbitration 

On arbitration, TOA executive director 
Gael Sullivan and general counsel Her- 
man M. Levy announced that they would 
recommend to the TOA Executive Com- 
mittee meeting March 1-2 that the exhibi- 
tor organization urge the defendant com- 
panies to initiate a series of industry 
public hearings designed to establish a 
"workable and inexpensive" arbitration 
system, as authorized by the Court. 

"Within the knowledge of TOA, all ob- 
jections that have been made to an in- 
dustry system of arbitration have been 
directed to its mechanics rather than to 
its sound basic philosophy," the joint 
statement declared. "In our opinion the 
major obstacle has been the absence of 
opportunity, possibly because of lack of 
initiative, for all segments of the indus- 
try to confer for the purpose of creating 
such a system. Now that the Court has 
spoken, and now that the idea has the 
sanctity and strength of judicial decree, 
an earnest, sincere and wholehearted at- 
tempt must be made by the entire in- 
dustry to bring about this sorely needed 
remedy. To accomplish that end, all 
petty jealousies, deep-rooted prejudices, 
and arm's length negotiating must be 

The TOA proposal was given condition- 
al approval by an Allied regional head. 
Wilbur Snaper, president of Allied Thea- 
tre Owners of N. J., said the industry 
had nothing to lose by holding a public 
hearing on arbitration and very possibly 
might set the stage for a system that 
would be of benefit to many industryites. 
He added, however, that any arbitration 
system meant to rule on exhibitor-dis- 
tributor disputes should have film indus- 
try members on its panel of judges. Ar- 
bitrators not familiar with industry terms 
and procedure have been responsible 
for enormous loss in time as each indus- 
try peculiarity and verbiage required ex- 
planation and interpretation, he said. 


"Exhibitors need help, not criticism." 
In these five words Spyros Skouras, presi- 
dent of 20th Century-Fox, summed up his 
company's motive for inviting some 200 
of the nation's exhibitors to be the guests 
of 20th Century at a huge showmanship 
meeting in Chicago, March 8-9, at the 
Drake Hotel. The company's action was 
in sharp contrast to Samuel Goldwjm's re- 
cent blast at theatremen for what he call- 
ed their "disgraceful" lack of enterprise in 
exploiting the product that graced their 

The 20th-Fox invitation was the third 
such move by the company designed to 
further theatre showmanship, and marked 
the first time a distributor-exhibitor meet- 
ing aimed at increasing theatre attend- 
ance has been called on such a large scale. 
Exh'b. Crosj-Section 

Exhibitors from all over the U. S. and 
Canada, representing a cross-section of 
both large and small theatre interests, 


Succor, Not Slaps 

will be on hand as guests of the company. 
National and regional leaders of the prin- 
cipal theatre organizations and trade press 
representatives have also signified their 
intention to attend the unprecedented 
showmanship confab. Skouras will pre- 
side at the meeting, aided by Fox vice- 
presidents Al Lichtman, Andy W. Smith, 
Jr., and Charles Einfeld. 

Leading industry personalities, as well 
as N. Y. Times critic Bosley Crowther, 
and the Fox executives will address the 
meeting. Crowther, who spoke at the 
recent Fox Showmanship meeting in New 
York for theatre ad executives, made a 
profound impression at that conclave. 
Attendance Problems 

At a press conference in New York at 
which he announced plans for the meet- 
ing, Skouras revealed that not only show- 
manship techniques, but current industry 
problems affecting attendance, such as 
outside competition like television, would 
be discussed. Both exhibitor and distri- 
butor share the responsibility for tackling 
these problems, Skouras explained, and 
both can contribute to the solution. 

On the agenda are ideas for showman- 
ship, including plans and problems evolv- 
ing from the previous meetings for ex- 

hibitor ad-men; merits of saturation book- 
ings and institutional merchandising to 
benefit the individual exhibitor as well as* 
the industry as a whole. The decline in|l 
juvenile attendance will be accorded spe- 
cial attention and methods of attracting 
more youngsters, as well a., the potential 
moviegoers who seldom or never attend a 
movie house, will be presented. 


The profit statement pattern as reports)! 
for the initial quarter of 1950 continued 
to come through was startlingly similar. 
Of the three companies which have issued 
first quarter financial statements, each, 
showed a small but very definite improve- 
ment over the preceding year's initial t 
period. Too, the increased net was ac- 
complished despite a decreased gross, in- 
dicating a more efficient operation as the 
result of retrenchment in production and 
distribution with resultant economies. 

Latest of the first quarter reports came 
from Warner Bros., which showed a net 
profit of $3,189,000 for the three months 1 
ended Nov. 26, 1949, after provision of 
$2,200000 for federal income taxes and a 
provision of $250,000 for contingent liabi- 
lities. This compared with a net of 
$3,093,000 for the first 1949 quarter after) 
provision of $2,000,000 for federal taxes. 1 

Warner's gross for the current vear's : 
auarter was $32,712,000, a million-dollar' 
drop from the corresponding period last _ 
year when the company reported a gross 
of 333,734,000. 

The Warner statement followed quar-. 
terly profit reports from Loew's and 
Columbia. The former showed a net of 
$1,652,000, more than a half million rise 
over the corresponding quarter last year,' 
despite a half million drop in gross. Col-' 
umbia swept back into the black with a 
net of $337,000, compared with a net loss 
of $23,000 for the same period last year..' 


It was Oscar nomination time again 
and Columbia's "All the King's Men" and 
Paramount's "The Heiress" topped the 1 
list with nominees in four of six princi- 
pal categories. 20th Century-Fox led the 
field by far in most films mentioned in 
the chief divisions with four receiving 
two or more entries. Only M-G-M had. 
more than one film mentioned in the top. 
six categories. 

Candidates for the gold statuettes 
were : 

—Best picture: "All the Kings Men' :| 
(Col.); "Battleground" (MGM); "The 1 
Heiress" (Par.); "A Letter to Three 
Wives" (20th-Fox); "12 O'Clock High' 

— Best actor: Broderick Crawford (All 
the King's Men); Kirk Douglas (Cham- 
pion); Gregory Peck (12 O'Clock High); 
Richard Todd (Hasty Heart); John 
Wayne (Sands of Iwo Jima). 

—Best actress: Jeanne Crain (Pinky); 
Olivia de Havilland (The Heiress); Su- 
san Hay ward (My Foolish Heart); Deb- 
orah Kerr (Edward, My Son); Loretta 
Young (Come to the Stable). 

Best supporting actor: John Ireland 

, (Continued on Page 14$ 


F I I M C U L L E T If 


R ates *>* generally 

97 Minutes 

Barbara Stanwyck, John Lund, Jane 
Cowl, Phyllis Thaxter, Lyle Bettger, 
Henry O'Neill, Richard Denning. 
Directed by Mitchell Leisen. 

Barbara Stanwyck has never been 
better than she is in "No Man of Her 
Own," Paramount's current-day version 
of the 1932 Clark Gable-Carole Lombard 
starrer. Her first sympathetic role in 
years, Miss Stanwyck unreels a portrayal 
that should put her squarely in line for 
another Academy Award nomination. 
And in Jane Cowl's motion picture debut, 
the J am 3d stage actress registers so 
.strongly that this film may well have 
two candidates in next year's voting. 
Aided by such strong performances, "No 
Man of Her Own" emerges as a finely 
etched melodrama, tingling with emo- 
tion and suspense, that should certainly 
'rank with Paramount's top grossers of 
! the year. Although the story is of soap- 
opera calibre, its ramifications are so 
compactly presented and the characters 
?o beautifully delineated that one can 
overlook some obvious plot turns. Under 
Mitchell Leisen's expert guidance, the 
31m builds in suspense until the very 
[ast scene and the cumulative force will 
eave audiences taut and excited despite 
a too-pat solution that dissolves into a 
lappy ending. Here is a universal audi- 

ence picture, one that will please the 
men as well as the ladies, and one that 
should result in strong boxoffice returns 
in any type of theatre. 

Miss Stanwyck, as the woman who as- 
sumes a dead girl's name and standing 
in a well-to-do family to give her name- 
less son a home and then battles a black- 
mailer to protect her benefactors, runs 
a complete gamut of emotions in her 
superb characterization. She excites such 
sympathy as the troubled young mother 
that the audience, to a man, will be pull- 
ing for her to 'Overcome the obstacles 
barring her way to happiness. Miss 
Cowl delivers a beautifully shaded and 
knowing performance as her kind and 
gracious rnother-in-law and it is the 
screen's great loss that she was not per- 
suaded to appear in films before. John 
Lund does his best work since "To Each 
His Own," dropping the "wise guy" man- 
nerisms which were so characteristic of 
his other films. 

STORY: Barbara Stanwyck and her 
husband, John Lund, awaiting the arrival 
of police at their home regarding a mur- 
der, think back over the incidents that 
led to this moment. She remembers how, 
destitute ind about to have a baby, she 
went to plead with Lyle Bettger, her 
lover, to take her back and how he re- 
fused to even see her, shoving a train 
ticket and a five-dollar bill under the 
door. On the train, the near-exhausted 
Stanwyck is be-friended by another young 

pregnant woman, Phyllis Thaxter, on her 
way with her husband, Richard Denning, 
to his family, which she has never met. 
In the washroom, Thaxter gives Stan- 
wyck her wedding ring to hold and at 
that moment the train crashes. When 
Stanwyck comes to in the hospital, she 
finds that she has a son and that she is 
mistaken for Thaxter, who has been 
killed along with her husband in the 
crash. Realizing that she and her baby 
will now have a home, she follows 
through with the deception and soon in- 
gratiates herself with her new family, 
mother Jane Cowl, father Henry O'Neill 
and brother John Lund. She and Lund 
fall in love and her happiness seems 
complete when Bettger appears on the 
scene and begins to blackmail her. When 
he forces her to marry him so that he 
can share in her part of the legacy, she 
determines to kill him. She finds him 
already dead, but the shock forces her 
to squeeze tho trigger just as Lund comes 
in to stop her. He disposes of the body 
and they return to find his mother has 
died of a heart attack from the excite- 
ment. Now, some months later, as they 
wait for the police, a note turns up in 
which Cowl confesses to the murder. 
Realizing that the confession is only an 
attempt to protect her, Stanwyck tells 
the police she killed Bettger. Th? police, 
however, reveal that he had been killed 
by a blonde whom he had rejected and 
are merely clearing up loose ends to the 
case. BARN. 

cotics agent, Miss Trevor thinks he is a 
dangerous criminal, while MacMurray be- 
lieves she is Burr's girl friend and a mem- 
ber of a dope ring. MacMurray hijacks 
Burr's cache of narcotics for ringleader 
Roy Roberts and takes Miss Trevor along 
with him to help get through customs 
with the stuff. With Burr's killers, as 
well as the local police, hot on their heels, 
MacMurray and Miss Trevor find time to 
fall in love, and when they finally reach 
the border, they half-heartedly turn each 
other in to the officials. Meanwhile, Burr 
has been picked up by Mexican G-men and 
thereby withdrawn from the scenery. The 
two secret agents quarrel when they real- 
ize the truth, but are ordered to deliver 
their cargo to Los Angeles, where they 
are to meet the American contact of the 
smuggling ring. Roberts is unmasked as 
head man on both sides of the border and 
is captured in a raid in which MacMurray 
is wounded, but finally wins Miss Trevor's 
affections. TAYLOR. 

on her wedding day by Peggy Dow, scorn- 
ful mistress of McNally, Miss Lupino flees 
in an automobile unwarned of disengaged 
brakes. She crashes through a bridge 
into the river, and unknown to anyone, 
escapes with her life. Miss Lupino de- 
v Mes to play dead long enough to find 
T ':-.s Dow to establish McNally as a mur- 
derer. McNally, who believes his wife 
isn'l dead because of no corpus delecti, 
offers a reward for information of her 
whereabouts. Howard Duff, a happy-go- 
lucky war veteran, recognizes and be- 
friends Miss Lupino, but doesn't believe 
her story. He turns her over to McNally 
who unsuccessfully tries to throw Miss 
Lupino down several flights of stairs. 
Shortly afterwards, Duff finds out the 
truth and in a thrilling hunt on the cat- 
walk of a dark, deserted mill, kills Mc- 
Nally. GRAN. 


Eates < * t as dualler; slightly more for 

$8 minutes 

7 red MacMurray, Claire Trevor, Raymond 
Jurr, Roy Roberts, Jose Torvay, Morris 
Vnkrum, Charles Lane, Don Diamond, 
Vacho Galindo, Pepe Hern, Richard Irv- 

Greeted by William A. Seiter. 

This conventional chase thriller, deal- 
,ng with the tracking down of dope smug- 
glers, should prove a fairly satisfactory 
/ntry for dual bills generally and action 
louses in particular. Too little originality 
n the plot and the routine production 
nilitate against its acceptance by dis- 
riminating audiences, but it should man- 
ge to attract slightly above average 
rosses in houses where cops-and-robbers 
lelodrama succeeds. The screenplay by 
)every Freeman provides for consider- 
ble violence, as well as some welcome 
omic relief when the going gets too 

action houses 

Two fair marquee names, Fred Mac- 
Murray and Claire Trevor, add value to 
this Universal International release. Un- 
fortunately, however, Miss Trevor's prov- 
en excellence as an actress has been some- 
what ignored as she cavorts in the non- 
sensical role of a policewoman on an as- 
signment for the Narcotics Division of 
the Secret Service. As her partner-in- 
farce, MacMurray once again turns in his 
usual, stolid performance. Raymond Burr 
is well-cast as the cold-blooded, trigger- 
happy smuggler with whom MacMurray 
clashes, while Roy Roberts, Jose Torvay 
and Morris Ankrum contribute their tal- 
ents in support. 

STORY: While searching in Mexico 
for evidence which will help uncover the 
man behind dope smuggler Raymond 
Burr, Los Angeles policewoman Claire 
Trevor becomes entangled in a gunbattle 
between Burr and MacMurray. Although 
MacMurray is also an undercover Nar- 


lates ♦ 9 + as dualler generally; more 

2 minutes 

da Lupino, Howard Duff, Stephen Me- 
fally, Peggy Dow, John Litel, Taylor 
lolmes, Irving Bacon, Don Beddoe, Joe 

Greeted by Michael Gordon. 

Here is a suspenseful killer-stalking- 
rey melodrama. It will stand up well 
l dual bills generally, while action houses 
tiould find it an above-average attrac- 
on. Unlike most suspense yarns which 
'ork steadily toward a climax, director 
lichael Gordon has shrewdly handled Os- 
ir Saul's screenplay to develop a whole 
?ries of breath-taking experiences, start- 
ig in the very opening scene. The weak- 
ness of the plot is the fact that the end is 

in action spots 

obvious for a long time, but Gordon's ac- 
complished direction and the convincing 
performances by a capable cast contrive 
to hold the spectator's interest through- 
out. The story ran as a serial in the Sat- 
urday Evening Post under the title, "Fugi- 
tive from Terror" — a far better one tha. 
Universal's choice. 

Ida Lupino is at her best as the hunted 
woman who realizes her husband's homi- 
cidal intent. Stephen McNally gives an 
ominous tone to the role of the husband, 
while Howard Duff is outstanding as the 
war veteran who befriends Miss Lupino. 
Newcomer Peggy Dow makes a strong 

STORY: Ida Lupino marries Stephen 
McNally unaware that he has murdered 
her father and has married her to gain 
control of her newly inherited lumber 
mill. Upon being informed of these facts 

Ell KHARV 2 7. 1 9 5 0 



Rates • • • — generally 

Warner Bros. 
Ill minutes 

Kirk Douglas, Lauren Bacall, Doris Day, 
Hoagy Carmichael, Juano Hernandez, 
Jerome Cowan, Mary Beth Hughes, Nestor 
Palva, Orley Lindgren, Walter Reed. 
Directed by Michael Curtiz. 

The full-toned utterings of the obsessed 
jazz trumpetman in "Young Man with A 
Horn" is the gimmick that makes an 
otherwise ordinary film enjoyable enter- 
tainment. Only those who can resist the 
plaintiff, brassy wailing of the horn, ex- 
pertly played off-screen by Harry James 
while the visible Kirk Douglas goes 
through the motions so persuasively, will 
fail to find this Jerry Wald production for 
Warner release pleasurable. Of course, 
"Young Man" is right up the alley of the 
jazz devotees, for students of such music 
will be moved by Douglas' passion for his 
horn and they will love seeing and hear- 
ing how small combos perform in the wee 
sma' hours for their own pleasure. That 
youthful segment of the moviegoing pub- 
lic may well regard this picture as a saga 
of America's jazz age; others, however, 
may find it rather dull, for the story is 

ordinary and badly contrived outside of 
the musical sequences. Grosses figure to 
be mixed, from good down to average, 
best in the big city naborhoods, weakest 
in the rural areas. 

The credible mock trumpeting of Kirk 
Douglas in the title role is the highlight 
of the film. He makes you believe in his 
devotion to that horn. What emits there- 
from is the kind of Harry James music 
that "sends" juke box addicts. Lauren 
Bacall has some poorly written sequences 
in v ^ieh she unceasingly mouths her 
neurotic frustrations. Songbird Doris Day 
turns in a topnotch performance as the 
gal who carries a torch for Douglas and 
she does wonders with such old-time fav- 
orites s s "Too Marvelous for Words" and 
"The Very Thought of You." As Smoke, 
the vagabond pianist, Hoagy Carmichael 
effeetivelv narrates the tale and tickles 
the keys at after-hours jam sessions, while 
Juano Hernandez (of "Intruder in the 
Dust") delivers a fine portrayal as Doug- 
las' mentor. Michael Curtiz gets the most 
out of the inconsequential screenplay by 
Carl Foreman and Edmund North. 

STORY: As one of the few people who 
knew expert trumpeter Kirk Douglas, 
Hoagy Carmichael relates the details of 

the player's life from childhood until the 
blaring finale. While just an orphaned 
youngster, Douglas feels the love for mu- 
sic and decides he wants to be a trumpet- 
man. He attracts the attention of Juano 
Hernandez, one of the great jazz artists 
of the era, who teaches the lad all there 
is to know about the instrument. Doug- 
las emerges as a name player, obsessed 
by his love for his horn, who finds a pair 
of good friends in Carmichael and Doris 
Day, a singer who picks up and carries a 
torch for Douglas throughout the film. 
Where his musician-friends fail to separ- 
ate him from his unnatural obsession, 
Lauren Bacall, a neurotic playgirl, suc- 
ceeds. Douglas marries her and drifts 
away from his old pals and their haunts, 
playing only with a dance band, and then, 
strictly for a living. The accidental death 
of Hernandez brings Douglas to his 
senses. He sees Miss Bacall in her true 
light, leaves her, loses his ability to play 
his beloved horn and, mentally disturbed, 
hits the downward path to depravation. 
He is found in an alcoholic ward, stricken 
with pneumonia, is rehabilitated and, with 
the aid of Carmichael and Miss Day, starts 
thp long trek back to the top again. TAY- 


Rates • • • except for action spots; tops 


85 Minutes 

Bed Skelton. Gloria DeHaven, Edward 
Arnold, Walter Slezak, James Gleason, 
Jay C. Flinpen. Polly Moran. 
Directed by Jack Donohue. 

The phenomenal popularity of "The 
Fuller Brush Man," particularly in the 
hinterlands, is sure to be duplicated - 
and probably surpassed — by this new 
Red Skelton starrer from MGM. Tailored 
to the comedian's talents like a ward- 
rob? for Anthony Eden, "The Yellow Cab 
Man" is a hilarity-crammed, slapstick- 
laden, gag-infested film that is sure to 
make the masses howl and the sophis- 
ticates break into giggles no matter how 
hard they try to resist the broad hi-jinks. 
Highly reminiscent of the Harold Lloyd 
comedies of yesteryear, "The Yellow Cab 
Man" pictures Skelton as a naive inven- 
tive genius troubled by what psycholo- 
gists term an "accident prone" person- 

for small towns and family houses 

ality — even his undershirts are boldly 
labeled: "In case of accident, notify Dr. 
etc " When he becomes a driver for the 
Yellow Cab Co., some of the weirdest 
things ever to be recorded on film hap- 
pen. As an example, in one trip around 
the block, the havoc he creates brings 
out a fleet of police cars, the fire depart- 
ment, bomb disposal units, a^ balances, 
and virtually every other vehicle con- 
nected with any type of mishap; he is 
accused of kidnapping, demolishes his 
cab with a bride and groom as passen- 
gers, and generally launches his own 
private catastrophe — all in that one 
trip around the block. The entire film 
is a breathless succession of fantastic 
comic situations and gags, most of them 
right off the corn stalk, many full of 
whimsy, some genuinely clever, but all 
certain to make this Metro offering a 
high grosser generally and a top attrac- 
tion for the family houses. 

Skelton, as the thoroughly sympathetic 
schleinazel, is at his zany best. He is 

aided by a thoroughly competent sup- 
porting cast in the persons of Gloria 
DeHaven, object of his affections; Ed- 
ward Arnold as an unscrupulous, ambul- 
ance-chasing lawyer; Walter Slezak as a 
phoney psychiatrist; James Gleason as a 
cab-driver and his patron saint, and J. 
C. Flippen as a strong-arm man. Richard 
Goldstone's production and Jack Dono- 
hue's direction extract every ounce of 
hilarity from the packed script by Dev- 
ery Freeman and Albert Beich. 

STORY: The story has Skelton as an 
inventor, who, despite outlandish pre- 
cautions, is always having accidents. 
When he is hit by a cab driven by James 
Gleason, a chain of complications begins 
which lands him a job with the Yellow 
Cab Co.; gets him involved with shyster 
Edward Arnold, and pseudo-psychiatrist 
Walter Slezak, who try to make him di- 
vulge his formula for non-breakable- 
plastic; and a series of physical mishaps 
which could happen only to Skelton. 



Rates • • + generally; more in action houses 

83 minutes 

Alan Ladd, Wanda Hendrix, Francis Led- 
erer, Joseph Calleia, Celia Lovsky, Rich- 
ard Avonde, Frank Puglia, Luis Alberni, 
Angela Clarke, Roland Winters, Paul Lees, 
Directed by Mitchell Leisen. 

Alan Ladd fans will probably accept 
this confused, but actionful, little story of 
postwar Italian intrigue and black market 
activities, which, in spite of its shortcom- 
ings, should prove a satisfactory grosser 
in most action situations. However, more 
discerning patrons will probably turn 
thumbs down on the contrived melodra- 
matics tossed into "Captain Carey, U.S.A." 
to create added suspense and mystery. 
There is considerable interest in Robert 
Thooren's script, based on a novel by 
Martha Albrand, which tells of an Ameri- 
can OSS officer who returns to Italy after 
the war to avenge a treacherous act com- 
mitted by an unknown native. However, 

only youngsters will be fooled by the sus- 
picious actions of countless characters 
skulking about the landscape, for there is 
no question as to the identity of the real 
culprit, whose guilt is obvious from the 
very beginning. Mitchell Leisen's direc- 
tion maintains a fast pace and gives an 
atmosphere of authenticity to the proceed- 

Ladd has a typical role, absorbing the 
usual quota of punishment before he final- 
ly triumphs over the evil forces, a per- 
formance which will sit well with his 
many followers. In her role of the Ital- 
ian girl, Wanda Hendrix brightens the 
scenery with her beauty, but is still no 
great shakes as an actress. Francis Led- 
erer capably handles the heavy assign- 
ment, while Joseph Calleia, Frank Puglia 
and Roland Winters portray native Ital- 
ians who drift in and out of the plot. 

STORY: Back in the States after the 
war, Alan Ladd spots a painting in an 
art gallery which he last saw in a con- 
cealed room in an Italian palace while he 

was working with the underground as an 
OSS officer. He returns to Italy, hoping 
to find the person who sold the painting, 
and thus turn up the traitor who exposed 
him and his friends to the Germans. He 
finds the girl whom he had believed killed 
by the treacherous act, Wanda Hendrix, 
very much alive and married to Francis 
Lederer, an Italian politician. When he 
discovers that Miss Hendrix's family is 
under suspicion of causing the "reprisals" 
death of twenty-seven townspeople, Ladd 
sets out to find out who the guilty person 
is. A couple of murders later, Miss Hen- 
drix confesses to Ladd, and as he is about 
to leave, he discovers evidence which 
proves Lederer, a black marketeer, engin- 
eered the killings to further his political 
career, and also turns up Wanda's grand- 
mother and brother as the real traitors. 
Ladd kills Lederer and his stooge, George 
Lewis, after a knock-down-drag-out brawl, 
clearing the air of mystery and the path 
to his eventual marriage to Miss Hendrix. 





tfaawwfo /uwe ma</e /tet 



i\i*tvs and Opinion 

(Continued from Page 10) 
'All the King's Men); Dean Jagger (12 
O'Clock High); Arthur Kennedy (Cham- 
pion); Ralph Richardson (The Heiress); 
James Whnmore (Battleground). 

— Best supporting actress: Ethel Barry- 
more (Pinky); Celeste Holm (Come to 
the Stable); Elsa Lanchester (Come to 
the Stable); Mercedes McCambridge (All 
the King's Men); Ethel Waters (Pinky). 

—Best director: Robert Rossen (All the 
Kings Men); William A. Wellman (Bat- 
tleground); Carol Reed (Fallen Idol); 
William Wyler (The Heiress); Joseph L. 
Mankiewicz (A Letter to Three Wives). 

WITH $486,000 NET FOR '49 

Republic's contribution to the improved 
financial picture for the distribution fac- 
tion of the industry was a black figure of 
$486,000 after taxes for fiscal 1949 com- 
pared with a $350,000 loss for the similar 
period the preceding year. The brighter 
outlook was reported to the stockholders 
by Republic president Herbert J. Yates 
for the year ended October 29, 1949. 

The report showed that gross revenue 
for the 52 weeks came to $28,096,000 for 
fiscal 1949, compared with the previous 
53-week fiscal year's gross of $27,072,000. 
The decrease in revenue from foreign 
markets, according to Yates, was more 
than offset by increased domestic grosses. 
Yates also noted that despite devaluation 
of foreign currencies and the "uncertain 
situation" overseas because of devalua- 
tions, taxes and restrictions, Republic's 
assets in foreign countries increased from 
the equivalent of $1,095,000 on Oct. 30, 
1948, to the equivalent of $1,418,000 on 
Oct. 29, 1949, based upon prevailing rates 
of exchange. 

He also reported that bank loans of 
$2,700,000 were completely liquidated dur- 
ing the '49 fiscal period, leaving only a 
bank indebtedness of $1,423,000, repre- 
senting loans made in connection with pro- 
duction costs of specific pictures. 

Labor costs, he said, have continued to 
increase, and now represent more than a 
100 per cent hike since 1941. Despite this 
and the shaky foreign situation, Yates de- 

clared, he believed that "operations in 
1950, barring unsatisfactory develop- 
ments, will continue to show a substantial 

Other figures from the report revealed 
amortization of film production costs of 
$8,907,000, "laboratory, molded products 
and accessory costs" of $8,919,000 and sell- 
ing, administrative and general expenses 
of $5,828,000. Of this figure, advertising 
and publicity expenses came to $821,000. 

The profit figure also felt bites of $325,- 
000 for estimated federal taxes on income, 
and $602,000 of deferred foreign net in- 
come subject to withdrawal restrictions 
and federal taxes. In the preceding year, 
the company took a $215,000 refund under 
the loss carryback provisions of the In- 
ternal Revenue Code. 


The Government's anti-trust suit 
against Technicolor Corp. is all over but 
tli3 signing. In a consent agreement 
reached last week, subject to approval by 
Ihe Federal District Court in Los Angeles 
and the Technicolor board, the largest 
color process company in the world was 
released from the long-standing court ac- 
tion in which it was originally a co-defen- 
dant with Eastman. The latter exited the 
suit via the consent decree route last 

The original charge was conspiracy 
with Eastman to monopolize color photo- 
graphy on a world-wide scale. 

It was emphasized that "nothing in 
this decree adjudges Technicolor guilty 
in any manner, nor has Technicolor at 
any time believed that it has been doing 
anything contrary to law," according to 
Technicolor president Herbert Kalmus. 
The consent decree was agreed to, ac- 
cording to Dr. Kalmus, for two principal 

"(1) To save the enormous amount of 
time and expense that would be involved 
if the case were allowed to come to trial. 

"(2) Because the consent decree out- 
lines a practical procedure for avoiding 
future difficulties with the government." 


Release schedules from two companies 
for the next few months bore out the pre- 
dictions that the product shortage was 
fast disappearing as an exhibitor's head- 
ache. The companies heard from were 
M-G-M and Eagie-Lion, both of whom 
showed an increase in the number of 
films over corresponding periods last 

Sales vice president William F. Rodgers 
announced the M-G-M will release 16 pic- 
tures in the five months beginning April 
1, bringing the company's feature sched- 
ule up to the end of August, and provid- 
ing for a total of 26 pictures from the 
first of the year, including one reprint- 

Rodgers also pointed out the marked 
difference in this year's schedule in that 
four pictures have been set for May, 
whereas only one was released in the 
same month last year. This June, he 
added, there will be three releases, one 
more than last June. 

The monthly schedule will have three 
in April, "The Yellow Cab Man," "Side 
Street' and "The Outriders"; May will see 
"The Reformer and the Redhead," 
"Please Believe Me," "Shadow on the 
Wall," and "The Big Hangover"; for 
June, "Dink Stover," "Father of the 
Bride," and "The Skipper Surprised His 

In July: "The Asphalt Jungle," "Sum- 
mer Stock" and "Mystery Street"; Au- 
gust, "Duchess of Idaho"; "Devil's Door- 
way,' and "The Miniver Story". 

Eagle-Lion's renaissance after a long 
period of inactivity has resulted in a 
schedule of 12 features during the three- 
month period starting in February. This 
month's releases will have "The Sun- 
downers," in Technicolor; "Guilty of 
Treason," "The Amazing Mr. Beecham" 
and one reissue, "Hit the Ice". 

March will see "The Great Rupert", 
"The Golden Gloves Story," "Boy from 
Indiana," "Fighting Stallion" and "For- 
bidden Jungle". 

April releases are J. Arthur Rank's 
"The Perfect Woman" and "Kind Hearts 
and Coronets," and "Kill or Be Killed". 


Pflt°s • + as d ialler for action houses 


80 Minutes 

Richard Basehart, Marilyn Maxwell, 
Signe Hasso, Dorothy Hart, Joseph Pev- 
ney, John Hoyt, Henry Morgan. 
Directed by Crane Wilbur. 

"Outside the Wall" without the benefit 
of the sensational Boston bank robbery 
of recent headlines, would be just anoth- 
er action dualler. However, it becomes 
an exploitation film that might be par- 
layed into boxoffice returns far beyond 
its actual merit by tying it up with the 
daring Brink's $1,500,000 holdup in Bos- 
ton. Filmed largely on the spot, in Phil- 
adelphia where its world premiere drew 
crowds eager to see Their Town as plug- 
ged in the ad campaign, it emerges as a 
synthetic little melodrama with a good 
idea gone to waste. The bank robbery 
is not shown, being brought in indirectly 
late in the story as a motive for ultimate 
complications. Prison scenes also are 
limited to a few opening shots and the 
intriguing premise of a young man re- 
leased into the world at the age of 30 

after a 15-year prison stretch is developed 
awkwardly and unconvincingly under 
Crane Wilbur's pedestrian direction. Ac- 
tion fans will find the early portions, 
wherein the ex-convict, Richard Basehart, 
attempts to acclimate himself in a 
strange, unfriendly world, rather slow- 
moving, but the later sequences develop 
a good amount of action, which though 
far-fetched, should satisfy their craving 
for violence. Another angle which can 
be played up is the star's naivete insofar 
as women are concerned (he seems to 
draw them like flies), particularly a trio 
of luscious beauties in the well-rounded 
forms of Marilyn Maxwell, Dorothy Hart 
and Signe Hasso. With these exploita- 
tion points amply utilized, returns should 
be above average in action spots. Else- 
where, it's routine dual bill fare. 

STORY: Richard Basehart released on 
a pardon from Eastern Penitentiary in 
Philadelphia after a 15-year stretch for 
murder committed when he was a boy, 
finds the outside world a strange and 
unfriendly place. He seeks sanctuary in 
a private sanitarium near the city where 
he gets a job as laboratory assistant and 

meets nurses Marilyn Maxwell and 
Dorothy Hart. Both are attracted to him, 
but he singles out the glamorous, blonde 
Maxwell for his shy attentions. John 
Hoyt, who is brought to the sanitarium 
prostrated by tuberculosis, is recognized 
by Basehart as a former jailmate now 
being sought for a million-dollar bank 
robbery. Although he wants nothing to 
do with Hoyt, Basehart agrees to become 
the go-between in a blackmail payoff be- 
tween the robber and his ex-wife, Signe 
Hasso. Hasso and her accomplices, out 
for the entire loot, kidnap and torture 
Basehart, believing him to be the only 
other surviving member of the bank ban 
dits, to find where the money is hidden 
He escapes, but they bribe Maxwell and 
kidnap Hoyt. Basehart and Hart, tc 
whom he has transferred his affections 
attempt to rescue the sick man, having 
learned where the money is, but the} 
are forced to turn over the loot to the 
gang. In a fire at the hideout, all an 
driven out into the arms of the polict 
and the dying Hoyt is convinced by Har 
to clear Basehart of any complicity ir 
the bank job. BARN. 



Short Subjects 


DARAMOUNT'S A. W. Schwalberg has 
*■ instituted a "bi-zonal" distribution plan 
for the company's reissues that may serve 
as a basis for tackling the print shortage 
problem for all features. The idea is to 
obtain maximum concentration of prints 
in a specified area for a release period, 
then switch to another territory, etc. Un- 
der Schwalberg's plan, the zoning is done 
in the most fundamental manner, i.e., an 
East zone and a West zone. Two separate 
release dates are assigned to each re-issue 
and the full national complement of prints 
is concentrated in the zone during the 
release period. The East zone includes 
the Eastern and Southern Divisions under 
Hugh Owen and the Mid-eastern division 
under H. H. Goldstein. The West zone 
has J. J. Donohue's Central division, M. R. 
Clark's South Central division and George 
A. Smith's Western division. Initial re- 
releases will have "Beau Geste" and 
"Lives of a Bengal Lancer" opening in 
the East zone in March, in the West zone 
in June. The latter will have "Wake 
Island" and "So Proudly We Hail" in 
March, while the East begins its playoff 
on these in June. 

A LTHOUGH Francis, Universale bright- 
est new star, and principal performer 
in the company's current laugh film of a 
talking mule, is only a half-breed, so to 
speak, he was dubbed unofficial mascot of 
the Democratic National Committee and 
was one of the honored guests at the $100- 
a-plate Jefferson-Jackson Day Dinner of 
the Democratic Party in Washington re- 
cently. One fervent party member was 
heard to whisper rather apprehensively 
that he hoped there was nothing signifi- 
cant insofar as the next election is con- 
cerned in the fact that Francis has a con- 
genital deficiency. A mule, offspring of a 
donkey and a horse, you see, cannot re- 
produce itself. 

OfYTH-FOX has hired a psychologist to 
^ help sell "Three Came Home." The 
strong family-bond angle that character- 
izes the film's theme prompted the com- 
pany to engage the services of Dr. Peter 
Bios, prominent child psychologist and 
domestic guidance counselor, to present 
ideas for a specialized ad campaign aimed 
at family groups and organizations. This 
is in line with the company's announced 
policy of increased penetration into spe- 
cific groups of movie-goers. A selected 
group of publications, such as Parents 
Magazine, Family Circle, Christian Sci- 
ence Monitor, General Federation of Club 
Woman and several others with a cumu- 
lative circulation of 30,000,000 will carry 
the ads. Under the guidance of Dr. Bios, 
the ad has been designed to carry a direct, 
honest approach to the story, both in lay- 
out and in copy, which is headed "You Are 
the Real Heroine of This True Story . . ." 

Thus we have another example of the 
kind of constructive showmanship and 
promotion by Fox ad-publicity v.p. Charles 
Einfeld and his staff which has made the 
company the leader in industry showman- 
ship efforts. 

* * 

"T HAVE never seen anywhere any better 
maintained theatres than in England." 
These were the words of C. J. Latta, form- 
er Warner Albany branch manager who 
left to become managing director of the 
400-theatre Associated British Pictures 
Corp. circuit in England, as he returned 
from London. The British exhibitor faces 

FEBRUARY 2 7 . 1 9 5 0 


For the Angles, A Psychologist 

the same problems as the American the- 
atreman, according to Latta, and the pro- 
motional and programming activities of 
the British theatre managements "com- 
pares most favorably with what is done 
in the U. S." His own ABPC circuit of 
more than 400 houses has a special organ- 
ization which concentrates on kiddie club 
matinees and has built up a "tremendous 
new audience" with these presentations. 
Although he did not vouchsafe any opin- 
ion on how it would go in this country, 
Latta pointed out that he found "particu- 
larly effective" the English system of 
charging different ticket prices for the 
various sections of the theatre to provide 
a "ticket for every pocket book." 

CAMUEL GOLDWYN, who is not parti- 
cularly adept at making friends of ex 
hibitors, nevertheless has made enough 
"superior" pictures portraying the "Amer- 
ican Way of Life" to warrant a special 
citation from Parents Magazine, the first 
of its kind. The widely-read publication, 
presented Goldwyn with a special recog- 
nition plaque "in appreciation of his years 
of devotion to superior film making, es- 
pecially for his care in depicting the 
American scene with honest sentiment 
and for his clear understanding and por- 
trayal of the American Way of Life." 
Heretofore, the family magazine's awards 
have always been for specific films. The 
Goldwyn presentation covered the entire 
field of picture-making. 

'THE 1950 American Red Cross fund ap- 
peal wiil once more receive the co- 
operation of the motion picture industry. 
Although Washington headquarters of the 
Red Cross announced that there would be 
no collections in the nation's movie hous- 
es, some 17,000 theatres will show a two- 
minute trailer tacked on to each of the 
newsreels featuring Bing Crosby. The 
popular Bing will make the appeal with 
words and music, the latter a rendition 
of Irving Berlin's Red Cross tune, "Angels 
of Mercy" which will receive the inimi- 
table Crosby treatment. Theatremen who 
have previewed the trailer were impressed 
by its effective combination of entertain- 
ment and a mercy message. Look for it in 
Paramount News No. 54; Movietone News 

No. 17; Warner Pathe News No. 56; 
MGM's News of the Day No. 251; U-I 
Newsreel No. 329 and All-American News. 

QTEVE BROIDY has announced what is 
reportedly the first post-war deal for 
the distribution of American films in Ja- 
pan. The Monogram-Allied Artists presi- 
dent revealed that the Japanese govern- 
ment has granted the required import 
permit for the exhibition of the company's 
product in the territories of Honshu and 
Kyushu. The pact, schedu'eJ for five 
years, is due to become effective as soon 
as approved by SOAP (Supreme Com- 
mander A lied Powers) and will involve 
Sliochiku Film Enterprises, Ltd., a Cali- 
fornia firm, as physical distributor in 
Japan. Shochiku controls some 1300 Nip- 
ponese theatres, as well as being the coun- 
try's biggest producer and distributor, 
thus assuring a widespread play in Nippon 
of Monogram-AA Aims. 

TTHILADELPHIA's Bill Goldman, inde- 
^ pendent theatreman whose successful 
battle against the Warner first-run mono- 
poly in that town has made industry his- 
tory, is the subject of an article in the 
I larch issue of Holiday Magazine. The 
fighting chain operator minces no words 
in the article. He places the blame tor 
the much-discussed "trouble with movies" 
on "the big boys out on the coast (who) 
force turkeys down the throat of tne 
smaller independent exhibitor because he 
has to take them if he wants to get the 
good ones which he has to have to keep 
alive." Goldman visualizes a flow of bet- 
ter pictures with the end of the film mono- 
poly and advises exhibitors to concen- 
trate on selling his screen product, not 
popcorn. Explaining his refusal to handle 
popcorn in his theatres, Goldman says, 
"I'm an exhibitor, not a popcorn salesman. 
If you have a first-run house and have to 
put popcorn in it, I think you're in the 
wrong business." 

OF MEN AND THINGS: Former Metro 
exploitation director Billy Ferguson 
has launched Hollywood Enterprises, Inc.. 
specializing in merchandising of commer- 
cial royalty tieups . . . Al Schwalberg has 
moved up a series of field men following 
Mike Simon's appointment as Paramount 
Detroit branch manager, succeeding the 
resigned Ed Stuckey. Filling Simon's 
post as Buffalo branch manager is Edward 
G. Fitzgerald, formerly head of the At- 
lanta branch. Atlanta salesman William 
R. Word, Jr., goes into Fitzgerald's spot 
and broker J. Kenneth McCartney follows 
into Word's former post . . . RKO's Bob 
Mochrie also made several changes in 
his field forces as a result of the recent 
death of Ross Cropper, Boston Branch 
manager; Hatton Taylor takes over the 
Boston post; Murray Devaney of Montreal 
moves into Taylor's former position as 
Detroit branch head; Harry Cohen, man- 
ager at St. John, moves up to the Montreal 
branch managership, and Arthur Lee- 
White goes into St. John to replace Cohen 
... At Republic, executive v.p. James R. 
Grainger has named his executive assist- 
ant, John P. Curtin, as special sales rep, 
and Richard T. Yates becomes Grainger's 
new right-hand man . . . John Horton, 
former White House aide and special liai- 
son officer in the Defense Department, has 
been named by U-I Studio as its special 
public relations rep with headquarters in 
the nation's capitol. 




Music, Torrid Triangle Are The Angles 

THE excitement in- 
herent in music 
generally and in jazz, 
particularly, is the 
them? o!' Warners' 
"Young Man With a 
Horn". Uniquely Am- 
erican, jazz permeated 
the entire beings of 
young men and wom- 
en to create a new 
field in music and 
this new film is the 
story of one of them, 
based on the actual 
career of the greatest 
jazz trumpeter of 
them all, the late Bix 
Biederbecke. Adapted 
from the b?st - selling 
Dorothy Baker novel, 
this Jerry Wald pro- 
duction, directed by 

Michael Curtiz, has 

been accorded one of Warners' glossiest 
production values, and endowed with 
three bright stars to dramatize the 
story. Kirk Douglas, Lauren Bacall and 
Doris Day. Therein lies the basis for 
another selling factor, the romantic 
tr'angle. The Biederbecke role is taken 
by Douglas, a potent boxoffice figure 
ever since he scored so strongly in 
"Champion"; Miss Bacall plays a sul- 
try neurotic who vies with the trum- 
peter's love for his music and finally 
loses, while Miss Day is the wholesome, 
vibrant young band singer who gives 
the young man his opportunity for im- 
mortality and sticks to him through 


And 2 Ghosts: Biederbecke, James 

While all of this 
goe 3 to make up what 
the audience sees, the 
greatest part of the 
film for many is the 
sound track, wherein 
a dozen of the great- 
ejt modern tunes are 
treated to superlative 
rendition, with Miss 
Day singing and the 
oil-screen trumpet of 
Harry James playing 
as Douglas mouths the 
instrument. The hit- 
ter's uncanny simula- 
tion has been com- 
pared with Larry 
Parks' contortions in 
the Jolson sagas. 

Mort Blumenstock, 
Gil Golden and the 
rest of the WB box- 

officers have worked 

up an excellent selling campaign, based 
cn the musical and romantic angles. 

The former offers good opportunities 
for tie-ins with music stores, utilizing 
stills and display material that any 
tune shop would be eager to exhibit, 
crediting picture, theatre and publiciz- 
ing p'avdate. The big pitch should he 
mad? to the younger element, capi- 
talizing on their intense interest in 
popular music. One idea that suggests 
itseT is a competition on the theatre 
stage to find the town s most talented 
""5 oung Man With a Horn."' Get the 
guys and gals who make up the bulk 
cf a movie audience in and you've got 
a boxoffice picture. 


A couple of tricky, eye-pulling displays for 
the lobby have been cooked up by the WB ex- 
ploiters that can b • worked easily and inex- 

One is a combination featuring a torrid em- 
brace by Douglas and Bacall with the ad lines: 
"They Had to Meet! It Had to be Great!" on a 
background with four horns revolving around 
the silhouetted clinch. Details for this are given 
in the press book. 

Another suggestion is th>^ one above, a sure- 
fire lobby stunt. The Douglas still is silhouetted 
blow up of 8 x 10. The head works on hinge, 
(note small diagram at left), so that patron sub- 
stitutes his own head in place of Douglas' to 
have his picture snapped by cooperating local 
photographer or by one of the theatre employes. 


WB has instituted several tieups, including a 
Chesterfield national mag ad campaign on Doug- 
las and a bank display featuring Doris Day on a 
30 x 40 board to be placed in savings banks 
from coast to coast. 

A set of seven stills is available for several 
other local ti ups. featuring the three stars. 


A swell newspaper contest, featuring publicity 
scene mats from the film, is suggested with cap- 
tion clues to identify famous "Young Men With 
a Horn," like Louis Armstrong, Louis Prima, 
Harry James. Dizzy Gillespie, Clyde McCoy, etc. 
The group of answers should be sent to the 
newspaper, together with a 25-word finish to the 
s'. ntence beginning: "I want to see 'Young Man 
with a Horn' because . . ." 

Another competition, for newspaper, radio or 
lobby, could be tying up former Kirk Douglas j 
leading ladies from previous films. 



with a 

r i horn 




. with a 


^ man 

=y*A\ uiitfia 


At left, three of the newspaper display ad» 
available in different sizes. Abovj% a three-day 
teaser campaign, suitable either for three day* 
in advance of opening, or all three, run-of-paper, 
opening day with slug directing attention 
regular <li>|ila> ad in amusement pages. 


The real-life story of Hix Bieder- 
becke, considered by man) music 
experts as the greatest jazz trumpel 
man of all time, was the basis of a 
popular novel by Dorothy Baker. 
Warner Bros., in transferring it to 
the screen, has made some altera- 
tions I in the book, the trumpeter 
was doomed to a tragic, drink-sodden 
death; in the film, the happj end- 
ing shows bis rejuvenation), but is 
essentially the same story, enhanced 
b\ some off-screen dubbing thai 
makes the trumpet - playing 1 1>> 
Harry James) a treat to send the 
young people and jazz addicts righl 
oui of ibis world. 

The popular Kirk Douglas lias the 
title role; Lauren Bacall is seen as 
the wealthy, neurotic who marries 
him and draws him away tempor- 
arily from his beloved trumpet; 
Doris l)a\ i- the baud vocalist who 
^i\e» bim encouragemeul i<> go on 
to immortality and Boagy Carmic- 
hael, his piano-playing friend and 


inioni Chuffed j^rom Oraa.niza.tion i^utietim 

Allied Theatres of Michigan 

A news article appearing in the Detroit 
News, February 4, 1950, gives those in 
the motion picture industry who are now 
actively engaged in the fight for the re- 
peal oi Federal Admission Tax, a great 
assurance that many of the Congressmen 
are interested in our battle. This article 
originated in Washington and a few ex- 
cerpts a,re reprinted here for your infor- 
mation and consideration. 

"Proposals to cut excise taxes as much 
as $1,000,000,000 instead of the $655,- 
000,000 recommended by the Administra- 
tion drew expanding Democratic sup- 
port in the House today. Some of Pres- 
ident Truman's most constant followers 
joined in a drive for deeper reductions in 
the wartime levies. They proposed to 
add $325,000,000 or more to the proposed 
specified reductions by cutting the taxes 
on such things as theatre tickets, local 
telephone bills ... A member of the 
Ways and Means Committee, Rep. Young, 
(Dem.) Ohio, said he would fight for cuts 
in taxes on photographic equipment and 
on theatre admissions which he called 
"the recreation of the little fellow '. 

The above definitely shows haw some 
of our Congressmen are thinking. It 
now becomes our duty to support such 
thinking by allowing them to know that 
we are appreciative of such consideration 
and by assisting the general puolic in 
expressing their thoughts on the matter. 
First, we must write, wire, telephone or 
otherwise communicate with our Con- 
gressmen, advising them that the repeal 
of the Federal Admission Tax is a real 
service that they can render the "little 
fellow". Second, we must take advan- 
tage of the p:an originated by Abram F. 
Myers and his capable staff who are 
spearheading the drive, by using the vast 
amount of material made available to 
us in the form of Screen Trailers (which 
calls the atteniion of the public to the 
fight and solicits their cooperation) the 
Petition Cards (which you will make 
available to your patrons and which, 
when properly signed, you will send to 
your Congressman J and^the One Sheet 
(which you are asked to place in your 
lobby, directly over the table which has 
been provided for the patrons to sign 
the petition ca,rds.) 

We make the following suggestions re- 
garding the Petition Cards. Carry a 
number of them in your pocket and, as 
you meet people on the street, ask them 
to sign one. Leave them in some store, 
whose owner or manager is co-operative. 
Take them with you to the meeting of 
your service club and have your fellow 
members sign them. In addition to hav- 
ing the cards signed by members of your 
club and the ladies group to which your 
wife belongs, have these clubs pass reso- 
lutions which you will send to the Con- 
gressman in your district. 

* * * 

Allied of Iowa-Nebraska 
First, we must have fixed in our mind 
the fact that our public pays this tax 
and that this tax definitely affects our 
business, in that it may well mean that 
a family could and would attend our 
theatres twice a week if they did not 
have to pay the tax, instead of once a 
week as at present. Therefore, we and 
our public are equally concerned and 
our public must become interested in 


On Tuesday of this week, Con- 
gressman - at - Large, Stephen M. 
Young, a Democratic member of the 
House Ways and Means Committee, 
stated that he planned to press for 
complete removal of the present 
20% Admissions Tax or at least cut 
it in half. He characterized the tax 
as "restrictive, regressive, obnoxi- 
ous and atrocious" and was, in his 
opinion, responsible for "huge 
losses in a heretofore profitable 
business, and represents an inde- 
fensible tax on the poor man' enter- 
tainment and the pleasure of chil- 

For the stand he has taken in 
our behalf, Mr. Young deserves the 
appreciation and snpport of every 
theatre owner in Ohio, so we sug- 
gest that everyone receiving this 
bulletin send him immediately a 
letter of thanks. His address is 
House Office Building, Washington, 
D. C. — ITO of Ohio. 

this fight. Second, only our Congress- 
men and Senators have the power to do 
anything for us. And third, we must 
realize that our Iowa and Nebraska Sen- 
ators and Congressmen, all but one of 
whom have kindly expressed their sup- 
port of our Admission Tax repeal, are 
subjected to terrific political pressure in 
Congress. The mere fact that some of 
us, representing you — or for that matter 
if all the theatre owners in both States 
— had written or wired them and been 
assured they are favorable to our aims, 
it still isn't enough! Sure, it helps, but 
it isn't nearly enough! Because all of 
us together couldn't elect a sheriff in one 
county if the other people in that county 
voted against our man. That's practical 
politics — power in numbers. Our Con- 
gressmen and Senators go down to Wash- 
ington to serve the big majority of their 
people back home who elected them — 
their "constituents", they call them. 
When they don't hear from most of their 
people on any Bill, they have to use 
their own judgment, or ride along and 
vote with the majority or because of 
pressure. That is often called "political 

There will be real pressure brought 
into this Admission Tax fight; the Ad- 
ministration wants that money to spend! 
Our pressure will have to be greatest 
if we are to win. We must give our 
men plenty of ammunition if we expect 
them to hold the line for us. Ammuni- 
tion in the form of letters, telegrams, 
cards, petitions — every form of commu- 
nication — from each of us, our employ- 
ees, our friends, newspaper editors, may- 
or and city and county officials, leading 
citizens, attorneys, civic and other organ- 
izations — and — our public in our commu- 
nities and surrounding areas — to our 1 
Congressman and our 2 Senators. Am- 
munition from his people back home that 
will simply flood the offices of every one 
of our Senators and Congressmen, so 
that if and when the pressure is applied 
against repeal of the Admission Tax, our 
men have only to look at their pile of 
ammunition and say "No, my people 
back home want that tax repealed." Any- 
thing short of that, in my honest opin- 

ion, will not do this job! Our public in 
great numbers has got to help. And the 
really amazing thing about this is: this 
Admission Tax battle is the finest public 
relations for theatres yet discovered. 
That's been proven in the East where 
the drive is going full blast. The public 
knows repeal of the tax will mean low- 
er admissions for them, and they not 
only thank you for making the effort for 
them, but they"re more than willing to 
get in and help! Which is really won- 

* # # 

Allied ITO of E. Penna. 

By now, you have received the com- 
plete campaign plan to be followed by 
every exhibitor in the all-out effort to 
secure relief from the onerous 20% Fed- 
eral Admissions Tax. 

There is one thing that I want to 
stress and emphasize. This is a job that 
can only be successful if each and every 
exhibitor doe his part in this campaign. 
It is vital that every Representative hear 
from his constituents from every nook 
and corner of the Congressional District, 
and that the Senators hear from the- 
voters throughout the Commonwealth of 
Pennsylvania, if this campaign is to be 
effective. The campaign is making head- 
way, the industry is organized, and we 
can be relieved of the Federal 20% Ad- 
missions Tax if everyone does his job 
and does it well. 

* * * 

ITO of Ohio 
On the basis of merit, movie tickets 
(average selling price, nationally, less 
than 50c) should certainly be at the top- 
of the list and have precedence over such 
things as $5,000 mink coats and $15,000 
diamond bracelets, but the President's 
omission may be a serious danger signal. 
Everyone's help is desperately needed if 
this campaign for ticket tax reduction is 
to succeed. Here is how you can help: 

1. Read the 8-page Compo taxation 
folder that you have already received and 
study the. ways you and your customers 
can help. 

2. Immediately order and run the tax 
trailer distributed by National Screen. 
The screen has been used to sell Red 
Cross, March of Dimes, Brotherhood 
Week, etc. Use it now to sell your in- 
dustry's cause. 

3. Order petition cards and personally 
see that your patrons sign them. Don't 
just leave them stacked and unattended 
on a table in the lobby. Even if your 
Congressman has already told you he 
will insist on inclusion of movie tickets 
in excise tax reduction he still wants the 
backing of his constituents in his stand. 

4. Give good display to all lobby ma- 1 
terial available. National Screen has one 
sheet at 10c. 

Please send copies of all letters that 
you mail to or receive from Congress- 
men to this office, to be forwarded to 
national campaign headquarters in Wash- 

Every exhibitor should write at least 
three letters — one to each of the United 
States Senators, and one to the Repre- 
sentative from his district. Exhibitors 
who own circuits of theatres should 
write letters from each of their theatres 
that are located in different Congression- 
al Districts. 




Behind the Scenes of Film Production 



PRODUCTION has been .it a near stand- 
still here since the first of the year, 
due to casting snarls resulting from the 
company's sorely depleted talent roster. 
The situation wasn't brightened any, the 
other day, by the calling off ■ — by mutual 
consent — of John Ireland's term pact, 
which still had five years to run. Xreland, 
who has just been nominated for an 
Academy Award for his performance in 
"All the King's Men" is considered by 
many in Hollywood to be on the verge 
of top stardom, and could have done much 
to bolster the drawing power of Colum- 
bia's future product. Under terms of 
the split, 25 percent of everything gross- 
ed by the actor during the next five 
years, will become the property of Col- 
umbia. However, even such a lucrative 
arrangement cannot compensate for the 
loss of his services at a time when the 
studio so seriously needs them. 

Both "The Brave Bulls" and William 
Dozier's "Lady of the House" have been 
delayed due to the difficulties the com- 
pany is encountering in lining up casts. 
Furthermore, there is a possibility that 
"Prowl Car" (Edmond O'Brien-Mark Ste- 
vens), may also have to be given a later 
starting date. All three films were ori- 
ginally scheduled to roll during Febru- 
ary, but have now been set for March. 

Viveca Lindfors, however, has just been 
handed a new six year deal with the com- 
pany, replacing her previous optional 
contract. Cohn is known to have ordered 
his story department to be on the look- 
out for suitable screen material for the 
Swedish star. 

Something new in the line of "testing" 
; has just been tried out here, that might 
well be emulated by other studios. In 
lining up a cameraman for Joan Craw- 
ford's commitment to the studio, various 
lensmen were tested, in much the same 
manner that costumes, sets, makeup — 
and even the players themselves — have 
been in the past Such an arrangement 
might well eliminate the botched job 
some of the men behind the cameras 
' have been doing on Hollywood glamour 
'girls, .recently. There's no question that 
some of the actresses who require special 
handling in front of the cameras, have 
suffered at the boxoffice because of ill-ad- 
vised and sloppy lens work. 



JF EXHIBITORS and the public share 
the enthusiasm of Eagle-Lion execu- 
tives over the George Pal production of 
"Destination Moon," there should be good 
news in the announcement that Pal is 
starting work on another science-fiction 


The Home Market 

Hollywood is full of ironies, but 
no.ic mors pointed than the cur- 
rent, frantic drive to bolster foreign 
markets when, at the same time, 
mos: industry heads are doing little 
beyond fretting over the lagging 
bo:; office on the home-front. 

According to a recent nation wide 
survey, there are 65,000,000 persons 
in the United State? who either 
stay away fro_:i theaters entirely, 
or go too seldom to be counted as 
assets by the industry. Yet, with 
the possible exception of 20th Cen- 
tury-Fox, which has just announced 
a door-to-door survey to assay the 
customer's likes and dislikes, prac- 
tical5y nothing is being done to woo 
these 65,000,000 American stay- 
aways into the theaters. What, 
then, could you call it, if not ironic, 
that these same industry leaders 
are literally bursting at the seams 
with eagerness to win foreign mar- 
kets? Surely they must realize 
that a large portion of their foreign 
revenues will be frozen by govern- 
ment decrees. 

Every effort is made to find out 
the screen preference of regular 
movie fans; their wants are de- 
ferred to, nine times out of ten in 
choosing stories for filming and in 
selecting stars. Yet, with the pos- 
sible exception of Fox, little effort 
is being exerted to find out why 
65,000,000 Americans are not good 
customers. Obviously they want 
something from pictures that 
they're not getting; and equally 
obviously they're not going to shell 
out their admission fees until they 
do get it. But the producers can't 
tell you what it is they want be- 
cause — by and large — they've 
never bothered to find out. 

Wouldn't it be smarter for Holly- 
wood to stop worrying about for- 
eign markets and try to mend its 
fences right here at home? JAY 

yarn, 'When Worlds Collide." Musical 
scoring on "Moon" is now in the final 
stages, and Pal expects to deliver the 
completed negative to the company for 
a mid-March release. His new feature 
is based on a story first published ten 
years ago. 

Rushes on "The Jackie Robinson Story," 
currently before the cameras, indicate 
that the baseball star's histrionic ability 
far surpasses even the wildest hopes of 
the backers responsible for the produc- 

tion. Co-starring with him is Ruby Dee, 
the highly successful star of "Anna Lu- 
casta" during its three year Broadway 
run, The drawing power of the two 
names, plus a superior biographical script, 
should build the picture into a grossing 
bracket that may pay big dividends to 
the various employees of E-L who have 
invested their mony in the independent 

Despite the fact that production by the 
company itself still appears to be in the 
distant future, there is encouragement in 
the announcement, the other day, that 
Lois Butler has just been handed a new 
pact. During the three years the 19-year- 
old actress has been under contract to 
the studio, she has appeared in three 



^S A RESULT of the boxoffice success 
of "Adam's Rib," Metro will concen- 
trate heavily on comedies in the coming 
year's production schedule, Dore Schary 
tells FILM BULLETIN. Seven of the 
laugh-provokers are currently in various 
stages of editing, shooting or scoring, and 
Schary has just given the green light to 
prepare eight more for production dur- 
ing the next six months. Properties lined 
up are: "Strictly Dishonorable," "The 
Tender Hours," "Darling, I'm Stuck," 
"Excuse My Dust," "Just This Once," 
"Europa." "The Carnival Story," 
"Grounds For Marriage" and one more, 
as yet untitled. "Father of the Bride" 
( Spencer Tracy - Elizabeth Taylor - Joan 
Bennett), is now before the cameras. In 
the can are: "The Yellow Cab Man," 
"The Skipper Surprised His Wife," "The 
Reformer and the Redhead," "Dink Stov- 
er," "The Big Hangover," and "Please 
Believe Me." 

Schary also has made known that his 
company will release its entire backlog 
of 26 films between March 1 and the end 
of October. This includes even those pic- 
tures now being edited, and those before 
the camera, with the one exception of 
the Errol Flynn starrer, "Kim." The lat- 
ter is being held for a Thanksgiving re- 

The number of films going out during 
the seven month period is the greatest of 
any like period in the past several years, 
and represents an increase of approxi- 
mately 60 percent over the same span 
last year, when only 15 films were re- 
leased. In order to maintain a backlog of 10 
to 12 pictures at all times, this increased 
release tempo, will necessitate a pick-up 
in production, also. 

Any question that "Quo Vadis" might 
never reach the cameras, has now been 
removed, with the announcement that 
May 21 has been set for the actual start- 
ing date. The budget has been set al 
$5,000,000, with Robert Taylor in the male 
starring role, and Mervyn LeRoy to di- 
rect. No femme star has been set, al- 
though it is expected that an announce- 
ment will be forthcoming at any time. 

r r. : r u a r y 27. 1 9 5 0 





SONOGRAM AND Allied Artists got a 
nice shot in the arm with the sign- 
ing of the first post-war distribution deal 
for American films in Japan — a deal 
which should greatly bolster the com- 
pany's grosses. Under the agreement, 
Shochiku Film Enterprises, Ltd., a Cali- 
fornia firm, and Monogram International 
Corp., a wholly owned subsidiary of 
Monogram, will turn over the product of 
the two companies to Shochiku company, 
a Japanese firm, for actual distribution. 
The Japanese organization owns 850 
houses and leases an additional 500 in 
Japan. The terms call for both complet- 
ed and up-coming product. 

This department also learns that Steve 
Broidy, Mono prexy, is secretly planning 
a high-budget melodrama, to be made in 
a semi-documentary fashion, based on 
the life and activities of a gang leader 
now prominent in the news. There's gos- 
sip that it may be either Frank Costello 
or Los Angeles' Mickey Cohen, although 
that can only be tabbed as rumor. In any 
case, it will have to be filmed under the 
guise of fiction, in view of a Johnston 
Office ruling forbidding the filming of 
stories based on the lives of actual crime 

When the message picture, "A Modern 
Marriage," first reported here last issue, 
is completed, Broidy plans to roadshow 
the feature, and is now completing ar- 
rangement with Paui Popenoe, director 
of the American Institute of Family Re- 
lations, to make a leciure tour of key 
cities in conjunction with showings. 



JN LOOKING OVER Paramount's cur- 
rent backlog of pictures, one can't help 
but be impressed by the wide diversity of 
product and subject matter. Included in 
the list are pictures based on Broadway 
hits, best-selling novels, magazine serials, 
short-stories and popular radio shows. 
There can be little doubt that Barney 
Balaban has kept his promise of a year 
ago, to turn out the most diversified pro- 
gram in the company's history. By ac- 
tual break-down, the backlog includes 65 
per cent dramas, and the balance of a 
light comedy type. Here is the list: 
"Dear Wife," "Fancy Pants," "Let's 
Dance," "Riding High," "Mr. Music," 
"Samson and Delilah," "Captain Carey, 
U.S.A.," "Copper Canyon," "No Man of 
her Own," "United States Mail," "The 
Furies," "Paid in Full," "September Af- 
fair," "Captain China, "The Eagle and 
the Hawk," and "The Lawless." 

The announcement that Paramount 

has signed Nat Holt to a producer post, 
was another red feather in the company's 
cap. Holt will make two pictures dur- 
ing the coming year, both of them out- 
door epics on the order of his recent 
stints for RKO and 20th Century Fox, 
where he maintained his independent 
unit. Holt has been a producer since 
1942, when he moved over from his post 
as western division manager for RKO 
theaters to a producer berth at RKO 

In another contract deal, Paramount 
has just signed Ray Milland to a new 
six-picture pact. The new agreement re- 
places an old one which still had three 
years to run. 



j_JERBERT J. YATES has just nside 
a $5,000,000 production, advertising 
and exploitation campaign, to be divided 
equally over a five-year period for the 
purpose of building Rex Allen into one 
of the industry's top western stars. Yates 
plans to star his new find in five pictures 
per year, and will send him on numerous 
personal appearance junkets throughout 
the United States and Canada, between 
the shooting of his films. The studio has 
already built up a backlog of three Allen 
starrers to launch the big campaign. This 
group includes: "Arizona Cowboy," "Red- 
wood Forest Trail," and "Hills of Okla- 
homa." In actual dollars and cents, the 
campaign probably exceeds that allocated 
to the build-up of any sagebrush star in 
the business - even including Gene 
Autry and Roy Rogers. 

With grosses still pouring in above ex- 
pectations on "Sands of Iwo Jima," there's 
no question that the company is now in 
a financial position to start spreading its 
wings by building new stars. In the first 
97 engagements "Sands" has played, it 
has racked up an astounding gross of 
$2,205,000. Even those returns are incom- 
plete, inasmuch as the picture is still run- 
ning in several of the original 97 situa- 
tions. Yates said, the other day, that he 
anticipates a domestic gross alone of 
more than $10,000,000 on the picture, 
which far surpasses anything in the com- 
pany's history. 

Allan Dwan has just inked a new term 
ticket as a Republic director. The deal 
calls for two pictures per year, with the 
right to make outside commitments. His 
first assignment under the new contract 
will be a western, as yet untitled. 



W actively at the helm of RKO, there 
can be little doubt that exploitation pic- 

tures will play an increasing part in thej 
company's future product. So it's notj 
surprising to learn that Edmund Graing- 
er, under his new RKO pact, will concen-i 
trate entirely on subjects that lend them- 
selves to grandiose ballyhoo. Under 
terms of Grainger's RKO deal, he will! 
be financed 100 per cent by the Hughes 
organization, although operating indepen- 
dently. The pact calls for five pictures 
and if present plans work out, the first 
one will go before the cameras by early 

Another pact that is rapidly shaping up 
is one involving RKO and the newly form- 
ed Winchester Corp., headed by Howard 
Hawks and Edward Lasker. Under the 
projected setup, Hawks will function as 
an autonomous production unit, acting as 
producer on some of the features and as 
director on others. Lasker, in all cases, 
will serve as an associate producer. 

This department's forecast that Hughes 
would insist on all RKO features being 
held to a 90-minute running time, now 
seems to have taken form as an execu- 
tive order. Several features currently be- 
ing edited, are being severely scissored to 
comply with the directive, but it is under- 
stood that there will be no exceptions 
granted. Even "Stromboli," which ori 
ginally went well over that running time, 
had to be sheared down to conform. 

John Mitchum, brother of Robert, has 
been signed to enact the chief heavy in 
"The Johnny Broderick Story." Robert 
Ryan, who was originally announced for 
the starring role, is reported to be on the 
verge of withdrawing, due to conflicting 
dates with another assignment. 



jQARRYL F. ZANUCK, speaking befon 
the 14th annual district managers 
conference of National Theaters, in Loj 
Angeles, the other day, went on record a: 
favoring non-formula pictures as the an 
swer to the current boxoffice lull. H( 
pointed to two of his own productions 
"Pinky" and "The Snake Pit," as example; 
of the type of off-the-beaten-path movi< 
plots that will lure the customers bad 
into theaters, and pledged that his com 
pany would continue to seek out that kin( 
of entertainment for the exhibitors. 

Outlining his future production pro 
gram, the aggressive Fox production 
chief, told the conferees that the trend i: 
toward more realism in motion pictures 
He also appealed to the exhibitors to dis 
play more showmanship by supplementinj 
national publicity, advertising and exploi 
tation campaigns with ideas designed t< 
best fit their local needs. He pointed ou 
that recent surveys indicate a wide vari 
ance in business in the various sections o 
the country. Some areas reflect consisl 
ent big weekly grosses, he said, whil 
others are showing sharp declines. It i 
up to the exhibitors on the local levei 




Zanuck believes, to learn the individual 
tastes of their potential customers and 
whet them accordingly. 

Lewis Milestone has checked, back onto 
the Fox lot to direct "The Halls of Monte- 
zuma," a Robert Bassler production. This 
mil fulfill the director's one-picture com- 
■nitment with Fox, and will probably be 
lis only chore this year. "Montezuma" 
s one of three war pictures recently add- 
;d to the Fox schedule as a result of the 
success of "12 O'Clock High." Others are: 
'An American Guerilla in the Philippines" 
nd "To the Shores of Tripoli." "Guerilla" 
ill tee off the group some time next 
lonth in the Philippines. Tyrone Power 
starred, Fritz Lang will direct and La- 
nar Trotti produce. 



JNITED ARTISTS, the company that, 
just a few months ago, seemed to be 
eady for the undertaker, now has a total 
f 17 films finished and awaiting release, 
lot only is this enough product to guar- 
ntee a steady flow of releases through 
arly fall, but it represents an increase of 
percent in the backlog over the same 
■riod a year ago. Furthermore, the fea- 
ires in the backlog are studded with 
rong stellar names, including such box- 
ffice favorites as Mickey Rooney, Ronald 
olman, Myrna Loy, the Marx Brothers, 
at O'Brien, Edmond O'Brien, Robert 
oung, Paul Henreid, Vera-Ellen, Betsy 
rake, Celeste Holm, George Montgom- 
>-y, Wanda Hendrix and Teresa Wright, 
jhe features in which they appear are: 
Champagne for Caesar," "D.O.A." and 
Tere Lies Love," all from the Harry 
opkin inde outfit; Edward Small's "Davy 
rockett, Indian Scout;" Bernard Small's 
roquois Trail;" Stanley Kramer's "The 
en;" King Brothers' "Deadly is the Fe- 
ale;" Mickey Rooney and Sam Steiffel's 
oduction of "Quicksand;" Mary Pick- 
ed and Lester Cowan's "Love Happy;" 
regory Ratoff's "If This Be My Sin;" 
onald Alcorn's "Johnny Holiday;" Hal 
Chester's "The Whipped;" Benedict 
3geaus' "Johnny One-Eye;" Edward and 
larry Danziger's "Escape If You Can;" 
hilip N. Krasne's "The Girl From San 
:jrenzo;" W. Lee Wilder's "Once A 
lief," and Al Rogell's "The Admiral Was 

The UA board of directors has further 
;>proved a deal with Joseph Justman 
'hich guarantees the releasing organiza- 

3n a minimum of six pictures a year for 
a unspecified number of years. The 
hancial tangle which has held the deal 
ii for several months, was finally ironed 
-<it the middle of February, as predicted 

re, last issue. A deal is also near the 

EBRUARY 27, 1950 

inking stage for two more Sam Bischoff 
pictures to be backed by Edward and Wil- 
liam Nassour, insuring UA that the back- 
log will be kept at its same high level, 
even after the current pictures go into re- 

Donald Crisp is suing the Nassours for 
$240,000 he claims the producers borrow- 
ed from him in March, 1948, and Feb. 
1949. Actor Crisp charges that he had 
been induced to advance the funds by 
"false and fraudulent" representatives. 
The Crisp action was a cross complaint in 
reply to the brothers' suit, filed last Fall, 
to force him to surrender their 1949 note 
for $150,000 in return for a 20% interest in 
the Abbott - Costello comedy, "Africa 
Screams," in which, it was alleged, Crisp 
had agreed to accept the share in lieu of 



Jfy|ARCH WILL find Universal-Inter- 
national hitting its greatest produc- 
tion stride in more than a year, with 
seven pictures before the cameras. With 
four shooting during the closing days of 
February, three new entries will go be- 
fore the cameras in the early days of 
next month. These new starters are: 
"Saddle Tramp" (previously titled 
"Fiddlefoot"), starring Joel McCrea, di- 
rected by Hugo Fregonese and produced 
by Leonard Goldstein; "Smuggler's Is- 
land," produced by Ted Richmond and 
directed by Joseph Pevney, and "The 
Milkman" (Jimimy Durante - Donald 
O'Connor), directed by Charles Barton 
and produced by Ted Richmond. The 
carry - overs are: "Louisa" (Ronald 
Reagan - Charles Coburn - Ruth Hussey- 
Edmund Gwenn - Spring Byington), "Ma 
and Pa Kettle Come Home," "Panther's 
Moon" (Marta Toren-Howard Duff-Philip 
Friend-Robert Douglas), and "Winchester 
73" (James Stewart-Shelley Winters-Dan 
Duryea-Stephen McNally). 

This heavy lineup of star-studded pro- 
ductions, plus the announcement from 
New York that the company is operating 
in the black after two years of heavy 
deficits, has boosted morale to a point 
unequalled on the lot since the days when 
Deanna Durbin was singing there for 
her breakfasts. There seems to be an 
assurance that the company has pulled 
through the long, hard pull, and easy 
sailing is now ahead. Most side-line 
observers in Hollywood seem to concur 
with studio personnel in this opinion. 

Two new story buys were announced, 
also, bearing out what you read here last 
issue — that U-I is one of the biggest 
buyers in the Hollywood story market 
at the present time. It is the opinion 
of this department that quality of story 
is the one thing U-I needs to concentrate 
on at the moment to continue its for- 
ward march. 



pEBRUARY has been a month marked 
by contract terminations at Warner 
Brothers, reaching not only into the up- 
per talent brackets, but also including 
such old-time technicians around the lot 
as Perc Westmore, chief make-up man 
on the lot for the past 25 years. Stellar 
talent lobbed off during the month, most- 
ly by mutual consent, included Danny 
Kaye, Jack Carson and Eleanor Parker, 
with Patricia Neal believed by many to 
be on the verge of calling it quits. Prob- 
ably the biggest surprise was the calling 
off of Danny Kaye's five year pact. The 
original deal is reported to have called 
for Kaye and his writer-wife, Sylvia Fine, 
to receive $250,000 plus one-third of the 
profits on each picture. The parting was 
completely amicable, however, and there 
is a possibility that the comedian may 
still make a one-picture deal with the 
studio for a film to be made in England. 

One can only conclude from these con- 
tract terminations that the Warner Bro- 
thers are taking another hitch in their 
belts, in order to keep the studio on the 
most economical basis possible. Many 
observers in Hollywood believe that 
there may be more contracts called off 
in the next few weeks, and especially in 
cases where stars become overly tem- 
peramental and refuse to take studio 
orders. Warners have always had a 
higher percentage of suspensions than 
any other studio in town, but this time, 
it is believed that they will go a step 
farther and call off contracts if they feel 
they are not realizing the maximum re- 
turns from their stellar investments. 



Anson Bond has just completed 
arrangements with Joseph Bern- 
hard, FC prexy, for the immediate 
filming of two more Emerald pic- 
tures for release here. Bond and 
Bernhard have also been conferring 
cn exploitation and advertising 
plans for Emerald's recently com- 
pleted "The Vicious Years," which 
will draw a March premiere date. 
Present plans call for one of the 
heaviest selling campaigns ever 
used to back up a Film Classics 


Lippert Productions will more 
than double its previous record of 
releases during the next four 
months, with 13 features scheduled 
to go into circulation during that 
period. Added to the 17 pictures 
already released since June 1, 1949, 
this will bring total releases for the 
year to a new high of 30. Features 
set for release, in the order that 
they will go out, are: "The Baron 
of Arizona," "Western Pacific 
Agent," "Hostile Country," "Every- 
body's Dancin'," "Marshal of Hel- 
dorado," "Colorado Ranger, "Opera- 
tion Haylift," "Crooked River." 
"Highway Patrol," "Fast On the 
Draw," "None Come Back," "West 
of the Brazos," and "Hollywood 
I foliday." 



What the Newspaper Critics Say About New Films 


The much discussed RKO-Rosse"lini- 
Bergman production, "Stromboli," suffer- 
ed a devastating barrage of unfavorable 
comment from the pens of most of the 
nation's newspaper critics when the dcors 
were finally opened to the public in 400 
theatres February 15. They agreed, in a 
nutshell, that the film is unworthy of its 
star or its director. 

Bosley Crowther, in the N. Y. Times, 
lambasts the picture as "incrodibly feeble, 
inarticulate, uninspiring and painfully 

"A calculated arty and cold p'clure," 

writes the N. Y. World Telegram and 
Sun's Alton Cook, one which ' creeps along 

In a non-committal review, Rose Pels- 
w.t-A, uj. aid iv. j.. journal American, ca in- 
ly rates it "a quietly interesting picture," 
but "no 'Open City' or 'PaisanV 

In the N. Y. Herald Tribune, O is Guern- 
sey less mercifully lists the film as "a 
waste of talent and a waste of time," 
pointing out that it "is neither good Berg- 
man, good RosselHni nor good anything." 

The N. Y. Post's Archer Winsten tries 
to clear up preconceptions about the film 
by stating that it "is not sexy, suggestive, 
sensational, daring, or accurately describ- 
ed : ^ 'ts bal'yhoo." 

"Leaves one cold," is the opinion of Sey- 
mour Peck, in the N. Y. Compass, who 
describes it as "an interesting movie," but 
lac'-inf? ; n the qualities typical of Rossel- 
lini's earlier successes. 

Elsewhere, the reviewers fo'lowed suit. 
The Chicago Sun-Times and the Washing- 
ton Post simultaneously offered a one- 
word comment: "Dull." The Philac'e'phia 
Evening Bulletin's Laura Lee found it 
"mild indeed . . . the least interesting" of 
the Rossellini films. In that same city, 
Mildred Martin, of the Inquirer, calls it 
"astonishingly bad," with an "awkward, 
disturbingly amateurish quality through- 



"A Carol Reed picture . . . Story itself is 
both minor and insignificant . . . Can be 
absorbing to almost any audience." — 

"Another fascinating (Reed) film . . . 
Startling melodrama ... A work of great 
depth and power . . . Sombar and engross- 
ing . . . Taut and arresting." — BARNES, 

"Piece of top screen artifice . . . Extra- 
ordinarily fascinating . . . Essent ; a]ly a 
first-rate contrivance in the way of melo- 
drama — and that's all ... A thriller of 
superconsequence." — CROWTHER, N. Y. 

"Again ... we behold the matcWess 
artistry and perfection of d'rector Carol 
Reed . . . yet ... is hardlv as sat : sfying 
a thriller as one might wish . . . Repre- 
sents perfection in a vacuum . . . Stand- 
ard, slight, even mediocre story . . . Not 
enough novelty, surprise, shock - - the 
things that make a thriller unbearably 
susrenseful ... A superior thriller." — 

"Every detail caUs for superlative praise 
. . . Story . . . told before but never with 
such vivid, overwhelming power . . . Out- 
standing picture of the whole year of 
1950." — CCOK, N. Y. WORLD TELE- 

"Brilliantly made motion picture . . . 
Excellence ... is less in what it says than 
in the way it says it . . . A ton-flight 
thriller." PELSWICK, N. Y. JOURNAL 



"Lengthy yarn . . . Plodding work large- 
ly lacking in genuine drama or convic- 
tion." — A. W., N. Y. TIMES. 

"An overblown, verbose film . . . Plot 
larded with phony psychology and senti- 
mental slush . . . Could have done with 
more action and drastic editing." — PI- 

"Its sole novelty is that, for a change, 
Lizabeth Scott is playing the GOOD sis- 
ter." — S. P., N. Y. COMPASS. 

"An incredible story, heavy sentimental- 
ism and dialogue that sounds just like 
dialogue . . . Direction is ponderous. So 
is the drama." — CREELMAN, N. Y. 

"Dressy drama loaded down with psy- 
chiatric subtleties . . . Not a drab movie; 
not at all." — THIRER, N. Y. POST. 

"Lugubrious tale . . . Thev pile it on 
prettv thick." PELSWICK, N. Y. 




"Much too contrived and cleverly remi- 
niscent of other comedies ... to be ac- 
ceptably natural . . . Enough technical 
mastery of the routine to please a sizable 
audience." — WINSTEN, N. Y. PCST. 

"Fairly endurable . . . Will probably go 
very big in the suburbs." — PECK, N. Y. 

"A cozy comedy, cheerful in its view 
of family life . . . Still a sequel, somewhat 
contrived, seldom spontaneous." — CREEL- 

"Entertaining sequel to 'Dear Ruth' . . . 
Comedy is amusingly plotted and there's 
down-to-earth humor in the family b.cker- 
ings and misunderstandings." — PELS- 

"Ever}' bit as enjoyable and racy as its 
progenitor . . . Light-hearted, pure-as-the- 
fallen-snow fun ... A very enjoyable 
movie." — T. M. P., N. Y. TIMES. 

"Featherweight sequel ... All that is 
wanting is material to equal the comic 
aspects of the original . . . Attacks a 
'family' comedy with the humorous au- 
thority of a high-school farce." — BAR- 



"A thorough depiction of what life be- 
co" i ' i ' ; ! when c'V'lizat'on is forsaken." - 


"Novel's weaknesses have magnified and 
concentrated, its strong points minimized 
. . Imp°"c^b'e, artificial and over-rehears- 
ed .. . Still may be ponul-- ■ -'♦'i a" 1 un- 
critical audience." — WINSTEN, N. Y. 

"For the most part the film is one to 
induce tears from a sympathetic audi- 

"Novel . . . has become an orgy of dis- 
content ii transition to the screen ... A 
monotony of conventional frustration . . . 
A rather trying motion picture." — ■ 

"Not a sufficiently inspired drama to get 
close to us, to convince us or inspire us . . . 
Seems rather slow going . . . Firmly root- 
ed in banality . . . Shapes up as modest 
soap opera fiction." PECK, N. Y. COM- 



"A funny farce comedy. Maybe it's not 
the funniest you've ever seen . . . But the 
movie is gay and glib and romantic . . , 
Plenty of accent on slapstick ... All adds 
up to fun!" — THIRER, N. Y. POST. 

"Fancying itself a gay, mad, whirlwind 
comedy . . . might better be described as 
coy, dreary and embarrassing." — S. P., 

"Preposterous nonsense . . . Flimsiness 
shows through . . . Crowded with stars 
noise, gusto — everything except gooc 
sense." — A. C, N. Y. WORLD TELE 

"Everyone . . . works hard, if not toe 
happily, at being as prankish as all get 
out." - - PELSWICK, N. Y. JOURNAL 

"Generally hilarious satire . . . Uproai 
and crazy courting are the chief themes 
. . . There is little consequence . . . bui 
there is a lot of laughter in its shenani 

"A flimsy but obstinate affair which 
might easily tax the patience of everyone 
if it weren't for Mr. G. . . . A hodge-podge 
of situations, dialogue-gags and noise . . 
A bumpy, uneven ride which still has 
enough motion in it to shake your mid 
region insides." — CROWTHER, N. Y 



"Cops-and-robbers yarn . . . Lively little 
number even though it's been done so of 
ten . . . Brisk of pace." — PELSWICK 

"Strictly for members of the movie pub 
lie who shiver with delight at sight of i 
bloody nose." — COOK, N. Y. WORLE 

"A picture to keep in reserve for ar 
emergency when time is hanging dowi 
around your ankles." — WINSTEN, N. Y 

"Another chace melodrama in 'docu 
mentary' dressing . . . Familiar patten 
. . . Mildly interesting cops and robber; 
story." — BARSTOW, N. Y. HERALI 

"With all the to-do, there isn't mucl 
that is exciting about the film ... Jus 
too obvious to stir up interest." — T.M.P. 

"Minor pinprick . . . Trashy little mow 
. . . '"'heap, penny dreadful story of dopi 
smuggling and murder . . . Plot . . . wa 
probao.y scribbled on a pin-head . . . Th' 
movie itself is murder." — PECK, N. Y 



"Crisp and swift; unhampered b}' supei 
fluous footage . . . Very, very enjoyable. 
- ^ HIRER, N. Y. POST. 

"Modest little melodrama . . . Thrill 
are few and far between ... A tribute t 
the rops at work, and as such is interest 
ing fare." — A. W., N. Y. TIMES. 

"Exciting melodrama . . . Bui'ds towan 
realism and suspense with an impact tha 
comes close to equaling another RKO W 
budget sleeper, 'The Window.' . . . Modes 
and unassuming, but an interesting add 
tion to any cinematic circle." — BAK 



The Cover-to-Cover Trade Paper 

There are substantial reasons why exhibitors all over Amer- 
ica (and the subscribers in Canada, Europe, England, India 
and Iceland, too) are agreeable to pay more for a subscrip- 
tion to FILM BULLETIN than for any other of the regu- 
lar film trade papers (only Variety and Harrison's Reports 
get more per copy). The answer is that thousan ds of 
theatremen do more than just subscribe to FILM BULLETIN 
. . .They absorb it from cover to cover. . .They buy product 
by its production information ... They book by its frank 
reviews . . . They form their views of industry policies by 
its editorial pages . . . They have faith in it . . . They 
regard FILM BULLETIN as the trade paper with something 

Important to say! 



In the Release Chart, the date under "Details" refers to the 
issue in which cast, director, plot, etc., appeared. "Rel." 
is the national release date. "No." is the release number. 
"Rev." is the issue in which the review appeared. There 
may be variations in the running time in States where there 
is censorship. All new productions are on 1946-47 programs 
unless otherwise noted. (T) immediately following title 
and running time denotes Technicolor production, (C) 
denotes Cinecolor. 


1949-50 Features 

Completed (50) 
Completed ( 2) 
Completed ( 9) 

In Production (8) 
In Production (0) 
In Production (0) 



Drama- Started Feb. 14 

Cast: Bill Williams, Barton MacLane, Marjorie Reynolds 
Director: Seymour Friedman Producer: Milton Feldman 

Story: Not available. 


Comedy— Started Feb. 14 

Cast: Lucille Ball, Eddie Albert, Jeff Donnell, John Litel 
Director: Lloyd Bacon Producer: S. Sylvan Simon 

Story: Adventures of a door-to-door saleswoman. 


Drama -Started Feb. 14 

Cast: Charles Starrett, Smiley Burnette, Lois Hall 

Director: Ray Nazarro Producer: Colbert Clark 

Story: Not available. 



Title — Running Time 


Cast Details Rel No. Rev. 

Adventures of Sir Galahad. Tho Reeves-Leigh 5-9 .12-49 

All the King's Men (109) Crawford-Dru 12-6 12-5 

And Baby Ma'es Three (84) Young-Hale r -23 12-49 12-5 

Details under title: Baby Is Here 

Barhary Prate (65) Wood-Schnabel 3-28 11-49 

Bundlts of El Dorado Starrett 6-6 

Beauty On Parade Hutton-Warrlck ........ 11-7 . . 

Behind This Mask Bogart-Grahame 11-7 

Details under title: In a Lonely Pace 

•eware of Blondle Slnqle'on-Lake 8-29 

Bevo-d the Purple Hi'ls «utrv-Denn'son . ... 12-19 

liking Trail Starrett-Burnette ... 1-31 

Blondie Hits the Jackpot (66) Singeton-Lake 10-25 12-49 1-2 

B-dvho'd Parker-AIMrht 8-?9 

Cargo to Capetown Crawford-lreland-Drew .7-18 

C»iii>» BID IHcColre-M or "-1C 

:aptlve Girl Weismul'er-Crabbe 10-24 .' 

C*» Tewn Autry-Davls 5-21 

Cowboy and the Indian The Autry-Ryan 3-28 

Custom's A-ent Eyf-e-Revnolds 12-19 

David Harding. Counter Spy Parker-Long 1-30 

Devil's Henchiren. The (69) Baxter-Converse 11-8 12-49 

Father Is A Bachelor Hnlden-Crav 9-12 

Feudln' Rhythm (66) Arno'd-Henrv 7-18 .12-49 

F»^ones of Captain Blood H-yward-Medina 11-21 

Frontier Outpost Starrett-Burnette 12-29 

Girl's School Reynolds-Hall 7-4 

Good Humor Man Carson-Wallace 6-6 

Hrr Wo-derf"l Lie . . Klepira-Eoferth 11-10 

Details under title: The Eterna' Ylelndy 

H «« Down ... Arnold-O'Mahoney 7-4 

Holiday in Havana Arnaz-Hateher 12-20 

Horsemen of the Serra (56) S'arrett-Burnett .3-28 .9-49 

Jolion Sings Again (T) (96) . .. Park'-Hal" 11-22 10-10 

Kill the Umpire Bendix-Henry 10-24 

Killer That Stalked New York. The Keyes-Korvin 12-5 

Loit One. The (82) Cnrradl-Mattrra Forelqn 

Lost Tribe The Weissmnller-Dell 9-27 

Mark of the fiorilla Weismuller-Marshall . 9-26 

Ma-v Ryan. De'ectlve Hunt-PhiMips 7-4 

Military Academy Clrments-Tyler 10-24 

Miss Grant Takes Richmond (87) Ba'l-Holden 3-28 10-49 10-10 

Mr. Soft Touch (S3) Ford-Keys 8-30... 9-49 12-5 

Mule Train Randall-Vincent 8-30 .. 8-49 

Nevadan, The Courtland-Tyler 8-1 

No Sad Songs For Me sullivan -Corey 10-24 

One Way Out I o-d-r.rawford 1-2 

Outcast of Black Mesa 5tarrett-Burnett 11-7 

Palomino Autry-Ryan 11-21 

Petty Girl. The Cummings-Caulfleld 9-26 

Prison Warden Ba'ter-Lee 5-9. 12-49 

Reckless Mr.meit (82) Mason-Bennett 3-28 11-49 

Renegades of the Sage (56) Starrett-Burnette 8-29 11-49 

Riders In the Sky Autry-Hcnry 8-29 .11-49 

Details under till*: Beyond Ihe Purple Hills 
Riders of the Whistling Pines Jutry-Whlte 7-5 

Details under t'tle: Wings Westward 

Rogues of Sherwood Forest (T) Derrick-Lynn 9-12 

Rusty's Birthday (60) Domldson-Lilel 2-28 .11-49 

12-16 1 

12-49 '.'U 

Smcky fountain Melody (51) Acii'f-Wil: iams 

Sons ol New Mexico 4i'try-Da»;: . . 7-4 

Tell It to the Judge 1 87 ) ell-Cumm ings 4-2, 

Details under title: My Next Hosbam 

To'yo Joe (T8) Bogart-Marly 1-17 11-49 11- 

Tra'l of the Rustlers Starrett-Burnette .10-10 

Trawling ta'eswoman Dav s-Divir.e 8-29 1 

Tyrant of the Sea Wil'iams-Randall 8-29 jfl 

Woman of Distinction Russell— M llland 8—1 


1948-49 Features 

Completed (35) In Production (2) 



Drama— Started Feb. 10 

Cast: Jackie Robinson, Ruby Dee, Louise Beavers 
Director: Al Green Producer: Mort Brisk 

Story: Life story of the famous baseball player. 


Drama— Started Jan. 23 

Cast: Sally Parr, Philip Shawn, Walter Reed 

Director: Paul Sloane Producer: Paul Sloane & Helen Rathvi 

Story: Not available. 


Drama — Started Feb. 15 

Cast: David Bruce, Laura Lynne, Sam Flint 
Director: Bernard B. Ray Producer: Sar 

Story: Not available. 


- 1949-50 


Title — Running Time Cast Details Rel. No. F 
Alice In Wonderland (A) Marsh-Murrav Foreign ... Feb 

Amazing Mr. Beecham (85) Parkcr-Matihrws Foreign Feb 021 . . 

Boy From Indiana McMI'ster-Butler 11-7 ... Mar 

Cowboy and the Prizefighter Bannon-Nova Dec... 956 . . 

Deadfall Barrymcre, Jr.— Miller .1-16 

Destination Moon Anderson- Ucher 11-21 

F gdtinq Stallion (62) Edwards-Merrick Mar 

ForbHdei J uncle harvey-Taylor M 

Gay Lady. The Kent-Donald Forern . . . Dec . . 013 . . 

Golden Gloves Story, The Dunn-Westerfall 11-21 IVa- 023. .. 

Great Rupert (86) . D ran e-Moore Mar .. 019 .1 

Guilty of Treason (86) B'ckf o d-Granvi:i e Feb 022 .1 

Hidden Room, The (£8) Newton-Gray Foreign ... Oct ... Oil 

Hit The Ice (81) Aebitt-Costello Reissue Feb 943 ... . 

I'll Be Seeing Ycu Rogers-Cottm Reissue 

Intermezzo (70) Bergman-Howard . Reissue June 

Never Fear Forrest-Brasselle Jan.... 

Passport to Pimlieo Rutherford-Holloway Foreign 010 . . 

Perfect Woman (87) Roc-Hol'oway Foreign . . .Apr 015 . ... 

Port of New York Brady-Stevens Dec.. . 009 

Rebecca (SRO) Fontaine-Olivier Reissue . . . Joly 

Salt to the Devil WanamakT-Padovani Jan.... 

5arumba Dowling-Whalen Jan. . . .014 . . . 

Sun Sets at Dawn. The Parr-Shawn 2-27 

Sundowners, The (T) (83) Pres'o-:-Covns Feb 018 ..! 

Third Man, The Cot en-Valli Jan 


Black Book, The (89) Cummlngs-Dahl 9-13. . .A«g. .. 926 

Details under title: Reign of Terror 

Once Upon a Dream (87) W t' ers-Jones Foreign Sept ...942 ... 

Place of One's Own (94) Mason-Lockwood Forelm Sept . . . 961 1 

Prizefighter and the Cowboy, The (C) ... Bannon-Nova 9-12 

Rampage Mitch ll-Lnng 12-22 

Story of G.I. Joe Meredith-Mitchum ... Reissue . . Sept ... 006 ... . 

Tomorrow You Die Ireland-Ryan 5-12 J 

Trapped (78) Bridges-Hoyt 7-4... Oct Oil. Id 

Weaker Sex (85) Parker-Jeans Foreign . . Sept ... 914 .. . | 

Woman in the Hall (93) Jeans-S mmons Foreign Aug 960 ... 

Zamba (75) Hall-Vincent Sept. . . .004 . .11 



COMPLETED 1949-50 

Title — Running Time Cast Details 

'C'-Man (75) Jagger-Carradine 

Cry Murder (94) IWathcws-Lord . . 

Daughter of the West (C) (77) Vick-rs-Reed .. 

Flying Saucer Conrad-Garrison 

Four Days Leave Wil''e-Day 

Frustration (90) Lowenadler-Fridh ....Foreign. 

Good Time Girl Kent-Robson Foreign 

Guilty Bystander Sco t-Emerson 9-12. 

Inner Sanctum (62) Hughe .—Russell 

Lost Boundaries (97) Pearson-Ferrer 

Lovable Cheat. The (77) luggles-Garner 1-31 

Not Wanted (91) Forrest-Braselle 3-14 

Pirates of Capri (94) Hayward-Barnes 

Project 'rX" (60) Colton-Andes 10-7 

Rapture Langan-Albin 

Search for Danger (63) Calvert-Dell 1-3.. 

Vicious Years Coek-Mcrritt 

Wind Is My Lover, The Lindfo"S-Kent 


-27 . .2-15 

.7-19. . 9^8 





1948-49 Features 

Completed (36) In Production (0) 


Title — Running Time 

Apache Chief (60) 

Arson, Inc. (60) 

Baron of Arizona. The 

Call of the Forest 

Colorado Ranger 

Crooked River 

Oalton Gang, The (59) 

Deputy Marshal (73) 

Everybody's Dancin' 

Fast on the Draw 

Grand Canyon (65) 

Hollywood Varieties 

Hostile Country 

Marshal of Heldorado 

Operation Hayl ft 

Radar Secret Service 

Red Desert 

Ringside (62) 

Skyliner (61) 

Square Dance Jibllee 

There Is No Escape (63) . . . 

Tough Assignment 

Treasure of Monte Cristo (78) 

West of Brazos 

Western Pacific Agent 


Cast Details »pl 

Curtis-Neal 11-4 

Lowery-Gwynne 3-28 . . . 6-24 

Price-Drew 11-21. .3-13 

. Lowery-Curt's 11-18 

. Ellison-Hayden 3-11 

Ellison-Hayden 11-21 2-2 : 

Barry-Lcwery 8-15 10-21 

Langford-Hall 7-18 10-28 

Cooliy-Jackson 12-19 2-11 

Ellison-Hayden 1-2 4-1 

.Arlen-Hughes 5-23. . .8-12 

. A'da-Hoisier Hotshots 1-14 

Ellison-Hayden 12-5 .3-18 

. Ellison-Hayden 4-8 

Brown-Hayden 1-16 4-15 

Howard-Jergens 1-28 

.Barry-Holt 8-15... 12-3 

.Barry-Brown 4-25 . .7-14 

.Travis-Blake 5-9. .7-28 

Thurston-Hicks 7-9 

Barry-Hughes 8-15 11-11 

Barry-ste le 12-17 

Langan-Jergens 6-6 .10— 14 

. Ellison-Hayden 12-19 . .3-23 

Tayor-Ryan 1-2 2-18 

N.' Kp> 

. '824 





.4' 13.. . 

. 4822 

4916 .... 







. 4903 




1948 43 Features 

Completed (41) In Production (9) 


Title— Running Time 


Cast Oetiils 

Crisis Grant-Ferrer 1-16 

Father of the Bride, The Bennett-Tracy 1-30 

Kim (T) Flynn-Stockwell 12-19.. 

<lng Soloman's Mines (T) Kerr-Granger 11-7. 

Life of Her Own, A Turner-Corey 2-13 

Miniver Sequel, The Grrson-Pidgton . 10-10 

Rilht Cross Powell-Montalban 2-13 

Three Litt'e Wods (T) Ast.iire- c klton 12-19 

Toast of New Orleans, The (T) Grayson-Lanza 1-16 

Visa Lan.arr-Hodiak 1-16 

COMPLETED 1949-50 

Mam's Rib (101) Hentiurn-Tracy 6-6 

Vmburh (89) Tnylor-Hodiak 6-20 

innie Get Your Gun (T) Hutton-Keel 10-24. 

(sphalt Junoje Haydei-Hagen 11-21 

lattleground (118) Johnon-Hodiak 4-25 . 

tig Handover, The Tavlor-'ohnson 8-2" 

Slack Hand, The (90) Kelly— Celli 8-15 

Details under title: The Knife 

blossoms In The Dust Garson-Pidgeon Reissue 

wder Incident (92) Murp'y-Montalban 2-14. 

.hallenge to Lassie (T) (76) Gwynn-Lassie 1-7 . 

Conspirator. The (87) Tayhr-Tay'or 11-22 

evil's Doorway Taylor-Raymond 8-29 

)ink Stover (T) StocVwell-Brckett 9-26 

octor and the Girl, The (98) Ford-Leigh 5-9 . 

Details under title: Bodies and Souls 

uehess of Idaho (T) Wi'lisms-Jo'inson 11-7 

:ast Side, West Side (108) S'anwyck-Mason 8-1 

ntruder in the Dust (87) Jarman-Brian 3-14 

ohnny Eaier (107) Turner-Taylor Reissue 

iey To The City (100) Gable-Young 8-1 

lalaya (96) Tracy-Stewart 2-28 

Details under title: Operation Malaya 

lystcry Street Moi'talban-Forrcst . - 11-21 

lancy Goc, to Rio (T) (99) Sothern-Powell 7-18 

n the Town (T) (98)) Sinatra-Kelly 4-11. 

utriders (T) McCrea-Dahl 8-29 

lease Believe Me Kerr-Jchnson 8-1 

ed Danube, The (119) Pldoeon-Barrymore 3-14 . 

etoreier and the Redhead Powcll-Al yson 10-10 

hadow On The Wall Sothrrn-Scott 4-25 

tide Street (83) Grainger-O'Donnell 5-9.. 

kipper Surprises His Wife, The Walker-Leslie 11-21 

tars in My Crown McCrea-Orew 6-20 

lummer Stock (T) Garland-Kelly 12-5 

enslon (95) Tot'cr-Bas'hart-Charrise 6-6 

f k at Forsyte Woman (112) Garson-Flynn 1-3... Nov. 
at Midnight Kits Grayson-lturhi 1-17 
How Cab Man, The Skclton-Beckett 9-26 . 







. .1-2 

. Jan . 


. Dec 




Jan . 

. Dec 
May . 

.16. .10-21 

.20. . .1-30 


. 5. . .8-2; 
.10. . .11-7 
.21. . 2-13 


. .9. 



.19. . .2-13 

.4. . .9-26 


. .11-7 



1949 50 Features 

Allied Artists 

Completed (11) 
Completed ( 5) 
Completed ( 8) 

In Production (2) 
In Production (0) 
In Production (0) 



pomedy- Started Feb. 8 
Cast: Ravmond Walburn, 

•irector: Jean Yarborouph 

itory: Another in the popular "Henry" series 

Mary Stuart, Barbara Brown, Gary 
Producer: Peter Scully 


Comcdv- -Started Feb. 17 

Crst: Leo Gorcey, Huntz Hall, Hilary Brooke, Lyle Talbot 
Director: William Beaudine Producer: Jan Grippo 

Story: Further adventures of the Bowery Boys. 


COMPLETED 1949-50 

Title — Running Time Cast 

Blonde Dynamite G:rcey— Hall . 

Blue Grass of Kentucky Williams-Nigh 

Border Renegade Brown-Terhune 

Details under ti le: Rearing Trails 

Fence Riders Wil cn-"lyde 

Gun Roar in Rockhill Wilson-Clyd? . . . 

Henry Does It Again Raymond Walburn 

Jiggs and Maqgie Oit West Yule-R:ano 

Joe Palooka Meets Humphrey Kirkwood-Errol 11-7 

Killer Shark McDowe'l-Norris 11-21 

Modern Marriage, A Clarke-Field 2-13 

Mystery of Burlesque Marsh-Prrtwee Fore gn 

Six-Gan Me>a Brown-Ttrhune 

Square Dance Katy Vague-Davis 

Details under title: Murder In the Air 

West of Wyoming 

Young Daniel Boone (C) 


. . .32-19 
. JO-24 



Rrl No Rev 

2-12 .4913 . . . 
1 22 4901 
. . .3-5. . .4951 

. . 4-9 . 

4~ 41 
. < 907 . 




Ansel* in D'Sguise (63) I -rcey-Ha'l 7-4 

Black Midn g'lt (66) McVwall-Tl.nmas . 7-4 

Bomta on Pa ither Island ?h»flirl '-Serbs 10-10 

Hnuntet Trails (60) Wilson-Clyde 

Jiqgs ard IVaggie in Jackpot Jit'.ers (66) . . Yule-R a 10 7-4 

Jirg, and Maggie Out West Yule-Riano 2-13 

Lawle s Code (58) Wakely-Taylor 12-4 

Masterminds Gorcry-Hall 11-20 

Range Land ( 6) Wilson-Brcwne 12-25 

Riders of the Dusk C7) . Wilson-C yde 11-13 




.49 2 




.4"2 r 



. .9-25. 




) 12-18 

. 4807 

1 9-4 

. .4843 

1. . .9-11 

. .4812 


Roaring Westward (55) Wakcley-Tavlor 

Square Dance Katy Vage-Oavis 

Wolf Hunters, The Grant-Clayton 


Massacre River (78) Madison-Crlhoun 9-27 

Details under title: When a Man s a Ma,i 

My Brother Jonathan (105) Oenison-Gray Foreign 

Stampede (78) Cameron-Storm LO-25. 

There's a Girl in My Heart (86) J(an-Ey 3n 8-1 . 





10-33 .4S21 



1- 0. . 





1943-50 Features 

Completed (25) In Production (2) 

11-11 4905 


2- 27 

3- 29 



Title — Running Time Cist Details Rel. No 

My Friend Irma Gois West WiVn-Lund 2-13 

Union Station Holtcn-Fitzrerald 1-33. 

COMPLETED 1919-50 

Captain China Payne-Russell 4-25. .. 2-50 

Captain Carey, U.S.A. (83) Lndd-Hondri* 

Chicago Deadline (87) ladd-Rred 8-1J 

Details under title: One Woman 

Copper Canyon (T) Mi'hnd-l amarr 4-25 

Dear Wife (88) Ho!den-Cau Held 1-17... 2-50 11-7 

Eagle and the Hawk, The (104) Pa-ne-Flemir.,, 8-15 ... 5-50 . . 2-13 

Fancy Pants Hope-Ball 7-4 

Details under title: Where Men Are Men 

Furies, The Stanwyck-Carey ...12-5 

Heiress, The (115) deHavMland-Clift 7-5 9-12 

Lawless, The 

De'aits under ti le: Outrage Ca-ey-Russell 11-7 

Let's Dance (T) Hah •n-astairt 7-18 

Mr. Music Crosby-Hussey 11-7 

No Man of Her Own (97) Stanwyck-Lund 6-6 .5-50 2-27 

Details under title: I Married A Dead Man 

Paid in Full (105) Scott-Cimmings 10-25 3- r 0 4:15 1-16 

Place In The Sun, A Cl'ft-Winters 10-24 

Red. Hot and Blue '84> Hutton-Mature 1-31 . . 11-25 . 4 06 7-a 

Riding High (112. Crosby-Gray 3-28 4-50 . .4917 1-30 

Rope of Sand (105; Lancaster-Calvert 2-14 .. .9-23 ... 4902 7-4 

Samson and Delilah (T) (128) I amarr-Matttre 10-25 11-21 

September Fontainc-Cotten 8-29 

Song of Surrender (93) Rains-Hendrlx 2-2. .10-25. . .4904 .9-26 

details under title: Abigail, Dear Heart 

Sunset Boulevard Holden-Swanson 4-25 

Thelma Jordon (100) Slrnwyck-Corey 2-28... 1-50 11-21 

Top 0' the Morning (99) Cro-by-Blythe 11-22 .. .9-5 . 4901 8-15 

United States Mai! Ladd-Calvert 8-15 

Details under title: Postal Inspector 



Title — Running Time Cast Details Rel. 

Bank Dick (72) Ficlds-Mi-rkel 8-49 

Double Alibi (61) Morris-Lindsay 8-49 

Dracula's Daughter (71) Kmger-Holden 7-49 

Frisco Sal (94) Foster-Bey 9-49. 

Fury At Sea (92) Tone-Carroll 9-49 

Legion of Lost Flyers (63) Lund:«an-Carson 9-49. 

Never Give a Sucker an Even Break (7) . Flelds-Jcan 8-49 

fright Monster (72) Luoosl-Atwlll 7-49. 

Spy Ring (61) Wyman-Hall 8-49. 

Sun Never Sets. The (96) Fairbanks-Rathbone 9-49 

You Can't Cheat an Honest Man (79) . Flelds-Borgcn 10-49 

F E BR U A K Y 2 7. 1 9 5 0 



1919-50 Features 
We terns 

Completed (16) 
Completed (0) 
Completed (11) 

In Production (2) 
In Production (0) 
In Production (0) 



Drama — Started Feb. 7 

Cast: Dorothy Patrick, Robert Rockwell. Barbara Fuller 
Director: Ceor^e B'air Producer: William Lackey 

Story: Not available. 


Drama— Started Feb. 18 

Cast: Dorothy Patrick, Robrrt Rockwell, Barba 
Director; Phil Ford Producer 

Story: State cops track down killers. 


COMPLETED 1949-50 — 

nt|t — 'in, i mi, Timr jlsl Detail 

Arizona Cow oy ;| fn 4-25. 

Aaergers. The . . Ca'rnll-Mara \ '. 3-11 

Belie of Old Mexio ITr) RT«ri-uez- o 0Lkwell P-29 

BHIv of C -oiartn (Tri c o»-- - "va-u 8-15. 

ilande Bandit. Th- Rxkw'l -Patrick . . .9-2*. 

FwV-| -• Lar»s Ta •»--^-t-irk . 

Flohtog Kentuckian, The <100) Wayne-Ralston 3-28 

P»*V|s un"p ritle: •» Stra. qp Caravan 

Ge-aien of Aiilcne '- t-w ? 'f r 11-7. 

Hi'ls <il fl-homa "I'-n-R «don l-?0 

Kid 'rom Clcelard. The '89) B-pn'-lar 6-<5. 

Pto-eer Mar-hal Halr-hi-r^t 9-26. 

Per 4 rf Mfcsin- "f r»--T-w!rs J?- 1 . 

Powder R'ver Rustlers (60) L*"e-Walter 9-1"". 

Redwood Forect Trail Mlen-nonnell 11-7. 

B.ek I land Trail (C) Tiic''er-"»ara '-12.. 

SM' 'a'- »ad~-. La-e-Wal'er 2-1V 

Sands of two i'na (110) ) W->- ne-mara P-l. 

Savage *'orde. Thr E'llnft-Booth '-23. 

Detail' under title: Crosswinds 

Sinai g G ns (C) Mome-Paine; 

Sei"* -f Rio l-»' 

lan-i hed Fat-'ck-'.ydon 

Tr m r J- *n— rs F-ans 

Twilight in the Sle-ras Ro-ers-Ev-n< 

ra Fuller 
Stephen Auer 

.1-31. . " r 06 

1-8. . .4'4i 

12-22 . . . 4904 

.10-5 . .4902. .'.9-26 

. .2-6 . <"S62 

9-5 . ." r 01. . .9-12 
12-24 . .4:71 

11-25 . 49fl. 



U:: Backed 

. n-?4 


. n-"i 

... 1 

. . .10-10. 
Fnl--Poekwell 10-C4 


p-rlrwe i -Ceo g 

. Roqe-s-Fv-ns 3-28 

2-'8 4 r 09 
-i_?2 «ts4 
2-28 4:i0. 

•he Ch?mn . . 

B*ara Dakota Way (Tr) (67) 

Ma»e of Yoith '60) Fuler-Nnlan 6-20 

0 lal's nnd»r 'I'e: H'*h Sr"-on| Daughters 

CrIJen Mallion The (Tr) (67) Ro-ers-Evans 5-23. 

•a«ai* Trail Raid rs ... lanr-Wler f-1 

Poet OfTe: lnve> igator (60) Do g'as- 1 ong 6-5 

Ranger ol C^f kei Strip Hale-Hurst 8-1 = 

San into-e Ambu'h Hale-H irst 8-15 

Wen n from Headquarters Huston-Rockwell 1-30. 


10- 1 5 . 

. r-9. 


11- 15. 


.817. . . 
843 . .9-9(5 
816 10-10 



815. 10-10 





Drama — Smarted Feb. G 

Cast: R~>b->i"t- S'erHnt?, Joan Dixon. R'rardo Cortez, D?nte 
Directo-: Herbert j. Le~ds Producer: Lewis J. Rachmil 

Story: Police crew in action. 


Drama— Smarted ^eb 18 

Ost: Bett-> Div's, Barry Sullivan, Kent Taylor 

D'rsctrv: Cnr*is Bernhardt inducer: Jack Skirball 

Story: Tragic effect of divorce on a sensitive woman. 
Drama— Smarted Feb. 20 

Cnst : Tod Andrews, Mala Powers, Robert Clarke 

D'rectoT-: Ida L'ip'no Prodn^'r: ColMei* Young 

Story: Effect on a young girl after she becomes the victim of a sex crime. 



Tl'le— Running Tim» 

hi'** r.liVp Fury 

H »ili>» iri 


Bh| Steal. The (71> 

Staaetaaeh Kid '60 

r-ROT " TWO 

Fall"** m 

unde- 'tie: 

I 'a'etl' ' 


MyV»r:o"s •V-era-'o '6 1 ) 

Sataae Splendor (T) '60) 


•retle Fory (61) 

Stream Ba gain (68) 

Datalli ander title: Sam Wynne 

Mj "1 Raiders '6O1 

Tk*y live By Night (95) . 

Datalli ander title: The Twitted Road 



. p e- , 'ix-"a - ure . . . 


. Wave-le gh 



. .1-16 


. . . .1-17. 







5-23 . Martin 



. Lynn-Scott 

. . . .12-6. 



7-7 . 


7- ^8 

8- 1- 


Day-Kyan 5-9. 

Common 1st 

Bond Story 

Raft-O'Brien 5-9. 


Mitchum-Leigh 8-1. 

H. It-Martin 5-9 

.O'Shea-Grey 6-20. 

. Disney Cartoon 
Hoi -Martin 
Fn-*a ne r van 


Woman On Pier 13 (73) 

Details under title: I Married 

<;iioup FOUR 

Oanceroas Profession (79) .... 

Details ander title: The Bail 
Holl ay Aft .ir (87) 

Details under tl'.le: Christmas 

R'dT 0 e '■-n t (60 

Threat, The (66) 

Details under title: Trrror 


Alice in Wonderland tT) 

Arnona A' 1 ush 

Jed of Ro es 

Blind Spot Colbert-Ryan 11-7 

Capture. , he »v r -w i ht "-29 

Carriage En'rance Giritrer-Mitchum ...10-10 

Code 3 Mcfi-mv-lertew 1-3". 

C m '*>arc My Love ""n-e "a-M irray . . 12-''9 

Djnam te Trail Ko:t-Martin £-26 

f- Qp r (o i • - »•< ranter 1 2_3. 

Gun Thjnie- Kolt-Ma t'n 10-24 

III Oily Money ... Sinatra-Rasiall 12-6 

«du <t U t> o t)t/, 1 .a a 

«r> 11 .lei t. lie : Sin ol Harold Dlddlebouk 

lut'aw T|„ »„., i.e., i,) 

Range War Toll-Martin 8-1 

So > 0. ne Musketeers <T) V 1 > 1 Hara 1-2. 

Strombali 8crcman-Vltale 5-9 

Details under title: After the Storm 

Tarzan and the Slave Girl Earker-Srown 9-12 

Tieas^re Island T) Driscoll-Newton ■ 

unm rlzuiiA Skies 1. » it >— 1 

vendetta .. b n.-.".i raahl H-i' 

Ween No More « Un Valii '-1 ■ 

*H te low The Va I -Ford 8-29 

Ojr Very 0*n Grangcr-Blyth 9-12 

D tails under title: With All My Love 


Brl-"e for Sale (87) under title: Love Is B g Bus n, 

C'qdcrrlla (, (7"> 

Ichabod and Mr. Toad (T) (68) 

IVian on he lie Tower (T) (£7) .... 
Mighty Joe Young (94) ... . 

Detais under title: Mr. Jos. Young of Atri 

M> Fno i h Hear! '99) 

Rosea na Mc"o" 8 ' 

She Wore a Yellow Ribbon (T) (103) ... 







.Colbert-Young 3-14. 


r is e; Cartoon Feature II 

Disney Cartoon 9 -1m 

lone- a rh'on 1-S 

Johnson-Armstrong . 1-5 6-( 

An?r:ws-Ha\ward 7-4. 

tran-e-Evans 11-22. 

Wayne-Dru 11-22. 





Comnleted ( fi) In PrnrtiiHinn Mi 


t[ |o_Pnn lng Time 

Fa'len I •*«■. The (T4) 

P^nr- To Farth 

Third Man. The (104) 


Cao n.t»|i Rp| m 

Riih-rr'-o^-Ko-gan . Foreign. 11-15 

Jcne -F rra- For- gn 

Cot'en-Va li Fo ei n . .1-15 



lTO Features 
1' > 4'> F-a'.-tr-s 

Comnleted (44) 

In Production (2) 
In Production ((M 


f I ft-Douglas 8-1... May 

Power 5-23 

.Sttwa-t-'a-iet 6-20... Jan. 

rtar-ell-Dooolas 3-14 

C a n « -i<ers "-19 

c ca t-Jory 6-20 


in PRonrcTioN 

Ti I Run ino Timp Cast Dptall 

Outh-»ak Wi'mik-Bel CeJdes 1-2. 

RT'hil- r o-"r-Ha-ward 1-3T. 

W ere th^ S'd-aA Ends t ndra-s-Tierney 1-30. 


Bg Lift The 

"p'a Is un"t-r ti'le: T'O Co _ ridors Eas' 

Black Rr>se. The 

Bri ken (ti 

D»ta I- nnHjr 'itle: Arrow 

C-rlhnn T ra | Th- f rott-Williams 9-12. 

Chearer By The Dozen (T) C-^i-'-Wcl'b 11-7 

to ■ T' r^p S'a I '94i "«•'- .. 1-3 

Pp.'n^a Lil 'C 'P8' Mon'-nmpry-Wndsor 

Dancing in the Dark (T) <r2) Powe'l-Stevens 4-11 

Details linger ti le: The Bandwagon 

Evpryto y Dops It (98) 

Fan. The '79i 

Fi-ht n- Man of the Plains (C) ( r 4) 
Fire'all. Th« 

0-t* M < 'nd-r ti"e: The Challenge 

Gun Fighters. The 

I Was a Male War 8ride '105) 

Lov« "<-t -r-te 

net-.ll unde- •itle: Turned Up Toes 
Mo't-p- ■» - d«" T P i| »ip 'P8' 

De'ails I'nder fie: Oh. Doctor! 

My el e He-ven (T) G-b'—la le- 12-19.. 

•'i"ht -n' (he City T:c-n-v-w|' m - r ^ f>-"o. 

No Wav Out na-ell-Widmark 11-7. 

Oh Yon "p-utl'ol Poll (93) S pve-s-H-v- 1-3. 

Pinky (102) .. r r-l --Lundigan 3-28. 

Pri"ce of Foxes (107) Pnwr-Hendrix 11-8. 

Thieves' Highway <94) Con'e-Oakle 11-22 . 

•t-> I ..n J -r 'Itle Hard Bargain 

Three C-me Ho»-e (106) Colbert-Marshall 

Ticket <« Tomahawk 'T> Da'le>-"a- ter . 

T.»«l«p o'C'nclc High (132) Perk-Mitth-I' 

Under Mv <=kin Garli:ld-Pre'le 

D''a'ls un-"er title: Big Fall 

Wabash Avenue Cr-M'-MaWo 

wni e Comes Ma-ching Heme (82) . Da le -ral e- . 
Whirlpool (97) Tierney-Conte 






r 22 

.01 . . 




. 11-1 


p n- v-Tvle r 1-ao. 

Pee>— Parker 10-10. 

r "•t-S'^ridan 11-8 

Pet-rs-Romero 7-4. 

MiG i-e-Liindi-an 6-20 . 



. .923 .8-1! 

. Jun . 


. D'C 

. 927 °-2< 
.931 10-10 
. ?29 . 8-?9 
. .924. . .9-12 

. . r -9 . 
. 8-29 . 
. . r -9 . 

. 6-6 . 
. .7-4 . 


. . FeV 
. Mar. 

Feb . 
Jaan . . 

00 1 



on. .1-16 
.002. .12-5 




1949 50 Features 

Completed (21) In Production (0) 



A g. 

. 4-7 . . 
.1-6. . 


Tile — Running Time i„i t Details R*| 
Jdm'ral Was a la'y. The Romero-McDonald 11-21. .. 

Det ils under tile: The Iron Ca^e 

ig Wheel, The (S2) "... Rooney-Mitchell 7-4. 

lack Magic (10 ) We .«.— Guild 

hampagne Isr Cj Mr Ho'— »" "-'m 8-'^. 

eadly Is the Female (84) Cumm ns-Dall 7-4. 

. 0. A ' -V "-i ton •- ■>.. 

■ 'e i Young-Drake 11-21. 

Details inrjer ti le: Here Lies Lovs 
ome of the Brave >85) . . . Edwards-Bridges i- i 

idlan c cout (711 on go-nr -Drew 7- c 

oqurtis T a I. The "ontromrry-Mar:h"ll .10-24. 

*noy Holiday tend >-Mart'n 8-1 

*nny One-Eye . 0' ■'-'""-"'orris 

Iss For Corliss (88) Tcm:le-Ni en 7-4. 

,e Happy (91) Max Bros 8-2 

Jet I, undti title Blonie neaven 

en. T':e B an J o-Wr gat 11-21 

rs. Mike ( 9) Powfll-Kfyes 7-4 

nee A Thief lien ri -O'Brien 1-2 

Derails under title: Once Ligh'.ly 

ieksand R-Gey-'ore 3-28. 3-" 

i Young. So Bad Hen c d-CcC'eod 5-^0 

hipped. The Dury;a-;tarm 9-12 ... 6-3 


. Sml 
Pi . 



.6 17 
.2 18 


. 3-3 

1 Kr . . 

. .5-9 

' Sml. . 


. . . . "v 

. . .M-L 

P.J.. . 



R S 

D- z 
C c 


194 ^50 FeaVres 

ComnPeted (25) In Production (4) 




(omedy- -Started Feb. 11 

ast: M-ir.iorie Main, Percy Kilbride, Meg Randall, Richard 

irecto-: Ed'-ard SedgewVk Pr^dur"^: T^^p-rfi °oldstein 

lory: The Kettles have a grandson and become involved with in-laws. 


Tama— Started Feb. 13 

est: Mart-i Toren, Howard Duff, Philip Friend. Philip Dorn 

lir-^cto^: George Sterman Prod"cf>r; ^-"Iph Dietrich 

!pry: Spy drama involving microfilm hidden in panthers' collar. 


'estern— Started Feb. 14 

dst: James Stewart, Shelly Winters, Dan Duryea, Stephen 

rector: Anthonv Mann Producer: William Daniels 

;>ry: The story of the Winchester rifle. 



Title — Running time Cast Detail. 

^"in-ten-Reagan 2-13 

OMPLETED 1949-50 

hm a d Evalvn (f2) rr-n-er -"im-ons Forei- 

Bdad (T) (82) 0'Kara-C ristian 6-6. 

■ l Lagoon, The (T) (101) Jean- i mon< Foreiin 

P1« MacMu rav-T-e or 

Bianeer's Girl (77) dc^a-lo-Friend 8-1 = 

C»ai Rodent i 2 irnl «irh 4- 6 

Can-he Teritcry (T) 0' Htra-Carey 8-29 

rt-.j', un er ti'le: Th- Bovie Knfe 
Cudential Sqoad Con e-Gray 11-7.. 

eta Is under title: Web of the City 
Ciai- C->ll at Cactus Creek . . O'C' nno 'rden 7-28 
H Fnd. The Mpsoi-Toren 12-5 

fa'h un-ier t:t'e: Death on a Side St-ee* 

Dlr 'ed Torrn-^handler 10-10 

■le Cos'ones 0 Con-o--C^rter 10-10 . 

Fl For 'II (83) r."mmi ns-B the "'-4 

F f's (91) O'C nnar— Pitti r -23 

«' '153 n vl-r M-r .. For-lgn 

I fas - Shopli'ter Br-d '- r ree"-aa 11-7 

Kl rrom T««»> IV'.r rlr- '0- 6-6 . 

Mjand Pa K tie Go To Town (79) . . . . Mnh-K Ibiide . 8-20 

t'.. vail (f»i> -h- -"•'•■well .... 9-26 

Hied O'Riordans (76) 0' Mal ey-Pate 

• lM Murhy-Hend Ix 9-12.. 

etah under t'tle: East of Java 

S(h Sea Sinner (881 Wint rs-Carey 7-1 

St' of Molly X The '100) . H-vic-?r"dy 8-1 

Tt Lltfl" Island '81) R-d'nrH-Hreenwood . . Frrein- . 

Unrtcw (70) Br-dy-Russcll 8-29. 

Ma Is under tl l»- Frameup 
Wan I , H ding ' r 2>) Liri-o-Duff 8-15. 

etaMs under title: Fugitive from Terror 

. Nov. 

Mar . 


903 .12-5 







. Mir 
. Ipr. 

901 r-?t 
. S 10 .1-T6 


o^ 3 



Atjdnned (79) S nrm-0 Keef" 

* C Meet the Killer. Boris Karloff Abbntt-CosteMo 2-28. 

Alfe Manhunt <69i Cnnrad-Thurston 

Camity Jane and Sam Boss <T) (85) . . rif"ar|o-Piiff 10-25 

C'lt-pher Colunb-s (T) (104) M irch-Fldrrdge 

CI Across the River (90) Curtis-Jaeelcel 10-11 

jetills under title: Amboy Dulles 
Fihln'. Fnssln' and r|nh in "78 fl'Cnnnor-Maln 3-i 

P'aM< under Hie- Tne Wonderful Race at Ri ' ck 

Who Took the We^t (T) (84) . . . DeCarlo-Brady 2-14 

tails under Htli: The Western Story 

'ial E-try '84) DutT-'oren 12-20 

^ny Stool Pigeon (75) Duff-Wlnteri 4-11. 

(*otails under title: Partners In Crime 

Jat. . 






D'C. . 

Dec. . 


12- 13 



Ret . 

.707 . 

,A.ig. . 


J lv . 

. 691 


Oct . 

. .708 




July . 


. .6-21 


. .9-9' 


.698 . 
. .700 

Lady Gambles. The (99) stanwycK-preston 12-23 

Man-E ter at Kun ••< 1 79 • saDo-. a(> 12-22. 

Once More, My Da, ling (92) Montgo: e y-Blyth 

One Woman's Story '86' Todd-Rains F^'inn 

Sword in the Desert (100) AiiL'r ws-McNally 3-14 

res Sir, That's My Baby (82) 1'Co nor-DeHaven 1-3 

Woman Hater (6-) Grangcr-Fevilleri Foreign. 

June. . . .693. . 5- , 
July 666 .. .7- 

A g . .703 

Jlt"« .*">. < < 

Oct 709 . . . 8-29 

. .Son 8-15 

.July 701 


1949-50 Features 

Completed (29) In Production (4) 

Saul Elkins 




. .' 03. 


. . .2-11. . 

. .515. . 


>'. io-:2 ' 






Western— Started Feb. 14 

Cast: S:ott, Adele Jergens, Raymond Massey, S. K. 

Director: 1 ;d'-' ; "t L. Marin Producer: 

Story: Not available. 



T i 1 1 — Run i n. inn Cast Details Rcl. 

C^p'si" Ho at o Ho nh'o er Peck-Mayo 2-13.... 

Lightnini ftr kes Tw'c TCfl-lf • iran 2-J3 

Two M 1 1 Ion Collar Robbery. The Cochnn-'.ndre 2-13... 

COMPLETE!) 1949-50 

After N:ghtf II Bri n-Reynolds 8-21. 

Always Leave Them Lau h nj (lln) Berl"-M ya 8-1. 

B-ck re i 1) Lindfors-0'3rien . . 8-15 

De'ails I'nr'er '»: Somewhere in [lie C tv 

Ra" ieade Chrk-««assey 4-25. 

Beyond the Fcrest (96) Cav s-Citten 6- 

Br gh: Leaf Coo er-N al 12- 

Cage, The Parker-Moor'iead 8-1. 

Casablanca '102) Bogart-Sernman Reissue.. 

Ca tie on the Mud'Or '771 . .. Afield S"-er dan . Re ssne. . 

Chain Li'h ning (14) Bcg rt-Pa ker 6-6.. 

C"lt 45 (T) fcntt-Pom^n 12-5 

Daughter of Ros e O'^ray (T) Ha "e'--"-cRae f-29 . . 

Fa ewei tr "ems '"8) Hrvrs-Coo er Rriss'e. 

Glass Menagerie. The tawrence-Wyman 11-7. 

Ha y eart. T he 9!) °e g n Ne I 2-28 

Ha'cae man. 'h" (74) R ti son-yn .nq Rci s e 

Hawk rn' the arr-w. The lancaste - M i;o 

Hon e «e oss the Street '69) Morris-^aine 8-16 

Inspect r Pe-err' T h' 'T 'Ij2) Ka e-Bate; 8-30 

rtetal's under t'tle: "appy Times 
Lady Takes A Sailor. The (9"»> Wyirsn-Morg n 3-28 

DetalH under title- 0 top' md Miss Smith 

Mon a-a ,T ' Flym-s-ith .. 9-13. 

Nor'h of the R o Grande McCrea-M^vo S-27 

0 tails unHer title Celnrad* T»r itory 

Pe feet r tra-gers (88) 

Prefy Pa' y . ... 

Renrn of the Frontiersmen . . . 

Serqeant York '134' 
-•I., T 

If-ne F-lflht 

Storm Warn'nn 

He/ails '•n-'er 'i'le: S^o'-t Crn'er 
Story of c e ^ hiscu :( j' e T> (93> ... Tempi?- MeCa listcr 

De'ails under title: Always Sweethearts 

Ta'k Fn ce (116) Coooer-"'orris ... 

This "side of the law ilndfnrs-Sn.lth 

netalls nn « ti'le- "D'adlnek" 

Under Caprccrn (T) (117) Bergman-Cotten 

Vic m T he r.r w ord--r:an 

white "eat (114) ... 

Young Man Wi h A Horn (112) . . 

4 9 

. 2-25 . . 


1-14. . . 

8 1 = 


913 i:-i9 


r -10 . 


K ?a 

12-31. . 



12-24 . . 


. 12-13 

1-28 . 

. 914. 


. Ro -r -Mo-g'.n 7-4. 

<;-o't- M ornaii 1-?. 

MacRae-Calhnen ... 4-25 
CocPer-8renn-n . Reissue 
> ' 4-26 

Wy»a— "M-l«h T -4 

K-O'-s-R agan 12-5 . 





4-25 11-12. 



907. .11-7 
903 9-12 

9-27. 10-8 

934 9-25 



Colorado Territory (94 .... 

FO'intalnhead, The ill3) 

G-Mnn (85) 

Girl from lones Reach, T^e '78) 

Look (Or the S'lver ' n" 'T* ' 

fann --M vo 

. r'o nTas_"acill 7-1S 


McCrra-Vnyo 6-11. . . 824. 

Fnoner-Nea e 7-19. . . 7-2. . . 8"7 . 

Cag-ev Reissue ... 6-18 .. 826 . 

Reagan-Mavo 5-24 . .7-16 .. .828. 

Havr-""ln" 4-26. .7-30 . 829 

915 2-27 




Vonr Service — Our Responsibility 


Mfimhpr Nat 'I I ilin (arrlertt 

2r,(» X. Juniper St.. Phila. 7. Pa. — LOcust 7-4823 


Wo thank all theatre owners and managers who 
cooperated with us by putting return trailers in the 
proper addressed containers and for wrapping 
ar:d addressing all return advertising. 

We can serve all theatres better if they give us 
a copy of their program Tuesday each week 


Don't put \<mr return film in the lobb) until all your 
/nitrons luiio h'fl nffr the lust shore. 


236 N. 23rd St., Phila. 3 — 1239 Vim- St., Phila, 7 
LOcust 10100 

Member National Film Carriers 

EHRUARY 27, 1950 



You've Been Away Too Lon 

Yes, it's too had — too bad for your Boxoffice — that Showmen have been forgetting ho»i 
business they used to get from HERALDS, when those Big Pictures needed selling! 

5Mt to;' 

Well, those days are back again . . . and patrons are waiting for YOU to tell then 
your pictures, and convince them that they are worth their time and money! 

To help you prove it to yourself, we have — with the cooperation of M-G-1V 
pared audience-appealing JUMBO HERALDS, 1 W2" x 17", on M 
"BATTLEGROUND", and we're offering them to you at S3. 50 per thoui 

the same price as standard size] 
and less than what they coi 
of us! 

"picture of the year" , andf 
ing of the extra expendi 
your part . . . particularl) 
the cost is "peanuts" i 
returns are well wortH 

A M 9 ' Jen' ! 









}]Vz"x 17" 




50 p er 


Order from your nearest 


I ARCH 13. 1950 




Editorial by MO WAX 


tWo for A 

J t * _ 

Blue Ribbon A* 
. Measure fot me 

U T ble » send the 
to be able to 
January cho.ce > to 
V the Town. 

Boxoft« Mag 

— ^ *k~°/£ 

Jot ^ 
Out hne-^ ,» 

MS 0 


Vol. 18, No. 6 

March 13, 1950 

Page Three 

What Are You 
Doing Today 
In the Fight 
Of the Unfair 
Ad mission Tax? 


I L M BULLETIN— An independent Motion Picture 
Trade Paper published every other Monday by Film 
Bulletin Company. Mo Wax, Editor and Publisher. 

BUSINESS OFFICE: 35 West 53rd St.. New York. 
19; Circle 6-9159. David A. Bader, Business 
1239 Vine St.. Philadelphia 7, Pa., Rltten- 
heuse 6-7424; Barney Stein, Managing Editor; Jack 
Taylor, Publication Manager; Robert Heath, Circu- 
lation Manager. HOLLYWOOD OFFICE: 659 Haver- 
'ord Ave., Pacific Palisades, Calif., Hillside 8183; 
lay Allen, Hollywood Editor. Subscription Rate: 
INE YEAR, $3.00 In the United Stales; Canada. 
>4.00; Europe, $5.00. TWO YEARS, $5.00 In the 
Inited States; Canada, $7.50; Europe, $9.00. 

"...For Those Who 

Make It Good! 

Emblazoned on tbc banners overhead in that room where the Chicago 
Showmanship Conference was held last week streamed the slogan "1950 BUSI- 

Here was the challenge to the 300-odd showmen, representing a deep- 
cut cross-section of the nation's theatremen, who assembled in Chicago, at the 
invitation of 20th Century-Fox, to mull the whys, the wherefores and the hows 
of this wonderful art-industry bv which they live and which, with deep senti- 
ment, they seek to nurture and improve. Here was the challenge, in fact, to 
every motion picture exhibitor in America who would survive through yet 
another hour of travail in this industry's eventful history. 

Here, too, was the gauntlet flung down to every film company. For, by 
its tremendously constructive, superbly executed Chicago meeting. 20th Cen- 
tury-Fox demonstrated its awareness of the urgency of the industry's problems 
and that it was moving to meet them head-on. Here one film production- 
distribution organization was giving dynamic proof of its determination to 
make 1950 business good for itself and for its customers by stimulating show- 
manship by means of the talent of its manpower and by its money. 

There was no doubt in the mind of anyone at the meeting that the 
movie theatre will face increasingly stiff competition in the years ahead. In- 
deed, there was frank discussion of factors that make the year or two ahead 
seem fraught with foreboding elements. But, as one tasted, chewed and di- 
gested the veritable feast of provocative and stimulating opinions, ideas and 
concrete plans served up at the Conference, it was impossible to escape the 
belief that all will be well with an industry that has so much to offer and that 
boasts the manpower to inspire such high confidence. 

Two simple, positive facts were made crystal clear to every observer oi 
the Chicago proceedings. One: The boxoffice can be sustained against present 
and future competitive forces only by a thorough revitalization of showman- 
ship, intelligent and persistent. Two: Showmanship will be revitalized only 
bv hard, heady, sweaty work — and money. 

No words more aptly summed up the whole temper and promise o! the 
Showmanship Conference than the unerring observations of that veteran show- 
man, Charles Skouras. who told the assembled theatremen: "You're not kidding 
anvone as to why you're here you're worried!" And. further: ""11 you want 
this showmanship plan to work, you must spend money! 

Heed bim well, both exhibitors and distributOl 

business to be good, M V.KE IT GOOD! 

If \ou want your 

MO \\ \\ 

The Cover-to-Cover Trade Paper 

There are substantial reasons why exhibitors all over Amer- 
ica (and the subscribers in Canada, Europe, England, India 
and Iceland, too) are agreeable to pay more fora subscrip- 
tion to FILM BULLETIN than for any other of the regu- 
lar film trade papers (only Variety and Harrison's Reports 
get more per copy). The answer is that thousands of 
theatremen do more than just subscribe to FILM BULLETIN 
. . .They absorb it from cover to cover. . .They buy product 
by its production information ... They book by its frank 
reviews . . . They form their views of industry policies by 
its editorial pages . . . They have faith in it . . . They 
regard FILM BULLETIN as the trade paper with something 

Important to say! 

( Itivuifit Sit o trnt it a s it tp Conference 


Skouras Urges 300 Theatremen 
Revive Old Showmanship Spirit 

develop into an industrywide drive to 
stimulate a revival of aggressive show- 
manship, 20th Century-Fox played host 
to some 300 of the nation's leading thea- 
tremen at a two-day Showmanship Con- 
ference in Chicago last Wednesday and 

The impressive and successful conclave 
was keynoted at the outset by 20th-Fox 
president Spyros P. Skouras in a clarion 
call for a "renaissance of the showman- 
ship spirit" that made the motion picture 
the world's greatest popular entertain- 
ment. He pointed to new competition 
for films and urged exhibitors to meet 
the challenge with "dynamic showman- 

Following addresses by company offi- 
cials, the opening day's sessions were de- 
voted to the presentation of a full-range 
program of film merchandising and thea- 
tre institutional advertising ideas by the 
20th Century advertising-publicity-exploi- 
tation staff under the direction of their 
chief, vice-president Charles Einfeld. 
This was followed on Thursday by a pro- 
vocative four-hour open forum conducted 
by the attending theatremen, with Mit- 
chell Wolfson, Wometco Theatres, acting 
as moderator. 

A veritable tidal wave of constructive 
suggestions for improving business pour- 
ed from the rostrum as veteran showmen 
stepped forward to express their views on 
what is ailing movie theatres and what 
might be done to revitalize public inter- 
est in movie-going. All speakers were 
•unanimous in their praise of the 20th 
Century-Fox organization for arranging 
the precedent-shattering Showmanship 

Vice-president Al Lichtman announced 
that his company would broaden and 
carry forward the program laid down in 
Chicago through similar regional meet- 
ings in every exchange center on March 
21 or 23, the date in each territory to be 
at the discretion of the individual branch 
managers, who will conduct the meet- 
ings. The plan calls for invitations to 
such local meetings to be extended to 
theatre owners and their managers. 

CTANDING UNDER banners heralding 
the twin slogans: "1950 BUSINESS 
MAKE IT GOOD!" (for the industry) 
EVE:R!" (for the public) Spyros Skouras 
delivered an impassioned plea for "the 
highest courage, the boldest imagination 
and hard work" to cope with the prob- 
lems the industry faces. 

He declared that during the war years 
when boxoffice returns were abnormal, 
"those methods of showmanship and 
those techniques which the exhibitors of 
the nation used to build up this great 
industry were put aside." Now, business 
has returned to normal, he said, but thai 
normalcy is faced with competition by 
olher forms of recreation. 

"As men who have generated a vogue 
that has spread around the world by 
building great palaces for the amusement 
of the millions — monuments to show- 
manship — you demonstrate by your 
presence here that you recognize the mo- 
mentous purposes of this rally. 

T appeal to you today — to you exhi- 
bitors who have changed the ways of 
life, styles and habits of populations 
throughout the world, to begin here and 
now to create a renaissance of the show- 
manship spirit that has produced such 
miracles in the past." 

TN A SPEECH crammed with vital sta- 
tistics, Lichtman stated that despite a 
13 per cent increase in the national popu- 
lation in the last decade, a shift of mil- 
lions from rural areas to cities, and a 
huge increase in the purchasing poten- 


In closing the showmanship con- 
ference, Spyros Skouras made a 
strong plea for exhibitor support for 
his plans to develop large-screen 
television for theatres. The 20th- 
Fox president asserted that exhibi- 
tion is in "a fight for survival" and 
that maximum showmanship must 
be exerted to preserve the movie 
medium in its present form, while, 
at the same time, exhibitors must 
consider the advantages of opening 
the broad vista of great "live shows" 
brought to their screens via TV. 

Skouras made the prediction that 
if large screen television becomes a 
reality, theatre grosses within five 
years will be greater by comparison 
to today's grosses, as 1950's receipts 
are to those of 30 years ago. 


Showmanship Regenerated 

tial of the population, "boxoffice returns 
for the first two months of 1950 are about 
on a 1940 level, which brings ^us to the 
real question of 'how come?' " 

His answer: "This great industry of 
ours that produces and serves the best 
form of mass entertainment yet devised, 
is not keeping pace with the increase in 
population and the increase in the pur- 
chasing power of the people. 

"In too many cases we have lost the 
will to sell to the hilt, and thus the pub- 
lic has lost the will to buy our picture 

"It is our considered opinion that the 
problem for the motion picture exhibitor 
today is to go to work with the same 
kind of vigor and ingenuity that he prac- 
ticed in the early days of this business 
when he enjoyed the highest force of the 
will to sell the benefits of his theatre to 
the community, and thus create on the 
part of the public the will to buy motion 
picture entertainment." 

average "A" picture draws a total 
audience of only 13 million people, Andy 
W. Smith, Jr., 20th Century-Fox vice- 
president and general sales manager, de- 
clared that the industry's job is to sell 

(Continued on Next Page) 

MARCH 13, 1950 

Shins situ nsBt ip Vonivrvnve 


(Continued from Preceding Page) 

motion pictures to a large segment of 
the untapped 97 million able-bodied 
Americans who are potential moviegoers. 
He stressed that his company does not 
regard the task of selling pictures as be- 
ing one for exhibitors exclusively but for 
the distributor as well. 

Smith illustrated how boxoffice returns 
can be improved by cooperative effort be- 
tween distributor and exhibitor as in the 
case of the campaign on "Father Was A 
Fullback." Theatres which participated 
in Fox's special campaign on this picture, 
he said, showed higher grosses than they 
did on other films which registered a 
greater national take. 

However, Smith stated, "Showmanship 
is not exclusively a question of proper 
advertising, ingenious exploitation, or 
startling publicity - important as all 
these are. There other angles we should 

"One idea that we have tried out very 
successfully is that of saturation book- 
ings. Our objective is to improve the 
grosser, of every theatre in every town 
in a selected area by permitting them to 
play a picture day and date with the big- 
ger situations around them. Thus all are 
able to take immediate advantage of the 



publicity and advertising campaigns in 
the bigger cities and the real showmen 
in the area are given a wonderful oppor- 
tunity to use their talents. That show- 
manship has paid off at the boxoffice. 
This is not a guess. We know from ex- 

to the basic issue of practical show- 
manship, it heard from a professional 
critic of the motion picture, Bosley Crow- 
ther, of the New York Times. He urged 
a more intelligent approach in the tech- 
nique of film promotion and warned 
against the ill effects of the "bad adver- 
tising inflated, misleading, absurd — 
that has accounted for the ultimate reluc- 
tance of many people to either believe or 
pay attention to ads." 

Crowther said that the industry faces 
the problem of "re-estimating the whole 
motion picture audience — and the whole 
potential audience — and then approach- 
ing it with aptly placed techniques." He 
expressed the view that "the American 
public contains untold millions of poten- 
tial patrons for the better pictures who 


Return to Fundamentals 

are waiting to be wooed" and cited the 
surprising business rolled up by such class 
pictures as "Hamlet" and "The Red 
Shoes" in small towns and in naborhood 

Speaking of what he terms the "found 
audience" — the audience that wants en- 
tertainment on an adult, intelligent plane 
- Crowther had this to say: "With the 
competition that motion pictures are get- 
ting today from all sorts of demands and 
attractions that are clamoring for the 
consumer's time, this is the audience to 
which you will have to reach out if you 
want this business to expand. This is an 
audience which you will have to study and 
anal5'ze in your locales and convince and 
inspire with confidence if you want the 
margin of profit that used to come in 
popcorn sales!" 

VICE-PRESIDENT Charles Einfeld, the 
man who has been credited with 
creating the idea of the showmanship 
meetings, called for a "return to funda- 
mentals" in selling motion pictures. He 


Re-estimate the Audience 

said that in offering his company's pro- 
gram, he and his associates did not strive 
for anything new or startling, but merely 
sought to induce a reaffirmation, in mod- 
ern form, of the tried-and-true "essentials 
of showmanship" which can be utilized 
by theatres of every type and size. Ein- 
feld lauded the quality of film product 
in recent years and reiterated Lichtman's 
thesis that there is a greater fund of 
cash and customers than ever before 
available for the exhibitor to draw on. 
"You must go after them!" he told the 
assembled theatremen. 

The Fox showmanship chief then call- 
ed upon the departmental heads of his 
staff for presentation of the various ele- 
ments in 20th Century's program of the 
"essentials of showmanship". A 40-page, 
idea-crammed manual, titled "A Show- 
man's Guide to Better Business", was 
presented to each of the guests at the 
conference. The foreword petitions all 
showmen to join "in a concerted effort 
to inform the world of the resurgence 
of our great industry", and informs that 
the booklet had been prepared by 20th 
Century-Fox as an industry service. "It 
is designed to rekindle the spark of 
showmanship and to stimulate an ag- 
gressive attitude in selling motion pic- 
tures to the public. Many of the sug- 
gestions herein are already employed by 

accessories available— 

This banner, burgee, and 40 x 60 are available 
at cost through National Screen Service. 

BUROtE 40»6O 

the successful showman, but many more 
are not being practiced". 

The Showman's Guide was reviewed 1 
at Wednesday's opening session by press 
book editor Earl Wingart. It contains 
articles on diverse phases of theatre op- 
eration and exploitation by such promi- 
nent showmen as A. J. Balaban, execu- 
tive director of the Roxy Theatre, New 
York; Morton G. Thalheimer, of Rich- 
mond, Va.; Leo Brecher, of the famous 
Plaza Theatre in New York City, and 
Senn Lawler, director of advertising for 
Fox Midwest Theatres. 

Copies of the Showman's Guide will 
be made available for every theatre in 
the U. S., it was announced. 

JONAS ROSENFIELD, 20th-Fox adver- 
tising manager, declared that his com- 
pany is ready to match with exhibitors 
dollar-for-dollar the cost of running two 
600-line institutional advertisements in 
newspapers with guaranteed circulation, i 
The ads, in the form of personal messages | 
from the theatre manager, are adaptable 
for use by any type of house. One is titled 
"Your Pleasure is All Ours!" (see opposite 
page), the other, "I'm the Proudest Man 



Shotvmansh ip €Janf€»r€*nt*e 


in Town!" Asserting that there are no 
strings attached to the offer, Rosenfield 
expressed the hope that these ads would 
obtain wide circulation. 

He also urged the widest possible use 
of the slogan, "MOVIES ARE BETTER 
THAN EVER!", which is contained in a 
variety of newspaper slugs, available on 
one mat. These slugs should be used in 
all newspaper ads, on programs and post- 

. ers, as well as on grocery bags, envelopes, 
etc. through tie-ups, Rosenfield recom- 
mended. The slogan is also contained 
in a banner, burgee and 40 x 60 poster. 
These accessories are all to be distributed 
at cost by National Screen Service. 

A doorbell-ringing campaign and good 
will speeches by theatre managers to lo- 

' cal organizations were advocated by Stir- 
ling Silliphant, in charge of special pro- 
motion for the film company. 

DODNEY BUSH, exploitation manager, 
< and David Golding, publicity manager, 
spoke of the importance of constantly 
barraging the public with ballyhoo and 

Ralph Palca, manager of 20th-Fox's 
radio department, asserted that the screen 
is a theatre's greatest advertising medium 
and asked the exhibitors: "Have you been 
using your screen to sell your theatre?" 

The meeting heard two recorded talks 
, which are available to further exploit the 
slogan "Movies Are Better Than Ever" 
and to institutionalize the theatre. They 
are titled "The Manager Speaking" and 
"The Voice of Your Theatre." These discs 
each run 60 seconds. 

The conference witnessed a preview of 
, a newly prepared two-minute short to sell 
movie-going. Titled "Our Town, U.S.A.", 
this subject depicts a typical family dis- 
cussing movies and movie-going, without 
any reference to Fox pictures or any other 
particular product. It is especially de- 
signed to precede the theatre's trailers. 
It, too, will be distributed by National 
Screen Service., 

"As fine, as courageous, as inspirational 
a meeting as I ever attended," was the 
tribute of Eric Johnston, MPAA president, 
who added that there is entirely too much 
pessimism in the industry. He admonish- 
ed exhibitors against nurturing fear and 
advocated courage, faith and hard work 
to solve the problems they face. 

CAM PINANSKI, president of the TOA, 
declared that his large New England 
; circuit will go "all out" to push the Fox 
showmanship plan. He urged wider use 


Means of turning television 
screens to the advantage of movie 
houses received considerable atten- 
tion al the Fox Showmanship Con- 
ference. Great stress was placed by 
several speakers on the importance 
of developing TV trailers especially 
designed for home video. Circuit 
operators Leonard Goldenson, Sam 
Pinanski, Si Fabian, Charles Skour- 
as, and Harry Brandt, among others, 
advocated greater attention in the 
future to this means of advertising. 

In this connection, an editorial en- 
titled, "Go Into Their Homes After 
'Em!", which appeared in the Feb- 
ruary 27 issue of FILM BULLETIN, 
was reproduced and distributed by 
20th-Fox at the Chicago meeting. 

of special television trailers. 

Allied president Trueman Rembusch re- 
iterated his stand against showing films 
with stars who have fallen into public 
disfavor by their personal conduct. If 
the industry sincerely seeks good public 
relations, it must keep faith, he said. 

Leonard Goldenson, head of the Para- 
mount theatre chain, offered the opinion 
that films play off too quickly to allow 
favorable word-of-mouth to help the box- 
office. 'We must spend money to make 
this showmanship idea work!" was the 
straight-from-the-shoulder observation by 
Charles Skouras, president of the huge 
National Theatres chain. His circuit will 
spend $100,000 as its share of the pro- 
posed institutional newspaper campaign, 
Skouras stated. 

He spoke frankly about the threat of 
television and warned against minimizing 
its effects. Where TV has not reached, 
business is off approximately 12 percent 

in National Theatres, the circuit operator 
said, whereas in Los Angeles, where there 
are some 400,000 sets, grosses are down 
about 40 percent. He urged that the in- 
dustry strive to capitalize the new med- 
ium, rather than fight it. 

CI FABIAN termed the meeting the 
^ "most stimulating" one he has ever 
attended. He warned, however, that he 
had some words of criticism for his hosts, 
as well as for other film companies. 

Distributors have become lax in ex- 
ploiting their product, he declared, citing 
inadequate budgets as the reason why 
there is not sufficient pre-selling of pic- 
tures. Fabian laid some of the fault for 
inadequate exploitation at the doorsteps 
of the large circuits, which became de- 
pendent on their favorable runs and 
clearances and neglected showmanship. 
He had criticism, too, for the lack of co- 
(Continued on Page 26) 

special institutional advertisements 




(List your 







t's our pleasure . . . when you have 
a good time at the movies. 

It's our pleasure . . . when you laugh 
and thrill and sometimes' cry at the 
things you see on the screen. 

It's our pleasure ... to see the whole 
family choosing motion pictures as 
their best entertainment buy. 

It's our pleasure. ..that youngsters have 
come to know and love the movies as 
a very special treat. 

It's our pleasure . . . that Hollywood is 
constantly searching for new ideas . . . 
and bringing them to life. 

It's our pleasure . . . that today you are 
finding movies better than ever.. .gain- 
ing a greater pleasure in seeing them. 

*7 ^ ^"» »-— 


MARCH 13, 1950 



\ olume 18, Number 6 

Marcfli 13, I9. r )C 

JVetvs esini Opinion 


"With reservations" seemed to be the 
keyword as ratification of the Council of 
Motion Picture Organizations was com- 
pleted. The last two of the ten repre- 
sentative groups composing the all- 
industry organization, Theatre Owners of 
America and the Society of Independent 
Motion Picture Producers, placed their 
stamp of approval on the COMPO setup, 
but each made it clear that certain con- 
ditions must be met for their continua- 
tion as members. 

SIMPP, last of the component units to 
ratify, did so "with the specific under- 
standing that SIMPP in no way obligates 
itself for financial support or outlay, and 
that the matter of voluntary contribu- 
tions be and remain purely a matter be- 
tween independent producers, their dis- 
tributors and COMPO, without the in- 
volvement of SIMPP therein". 

The TOA ratification was much more 
conditional. No less than five points 
were made in the process: 

— Participation for one year only. 

— Moderate budget. 

— Exhibitor autonomy to be inviolate, 
with COMPO to act only in an advisory 

— Operations to be carried on with as 
much "free" services from within the in- 
dustry as possible. 

— No program or policy to be carried 
out without unanimous consent of all 
constituent members, as prescribed in 
the COMPO plan of organization. 

TOA's approval, aside from the budget- 
ary restrictions, was much the same as 
Allied s, which also voted a one-year trial 
period and emphasized no restriction on 
individual autonomy. 



The perennial proposition that all 
exhibitors merge into one national 
organization, again cropped up at 
the 20th Century-Fox showmanship 
meeting in Chicago last week. The 
proposal, made by Harry Brandt, 
New York exhibitor, was received 
coolly by Allied leaders present at 
the confab. 

While evincing a willingness to 
cooperate with the distributors and 
TOA in any programs in which the 
interests of independent exhibitors, 
the large circuits and the film 
companies run parallel, Allied 
spokesmen still persist in the view 
that there are some areas of indus- 
try operations in which the inde- 
pendents must retain freedom of 

There was great enthusiasm 
among the Allied delegates in Chi- 
cago for 20th Century-Fox's lead- 
ership in revising aggressive show- 


A Most Ambitious List 


A 20 per cent increase over the original 
schedule of Universal-International stu- 
dio-produced films was the good word 
from president Nate J. Blumberg last 
week. U-I will turn out 36 "high budget" 
features during the current fiscal year 
ending in October, six more than the 30 
first planned. The hiked number was re- 
vealed by the U-I president after a series 
of conferences with production chiefs Leo 
Spitz and William Goetz. 

"Each of the six pictures to be added 
to the program will be selected with the 
same care given and the same special at- 
tention that we are devoting to our pre- 
viously announced films," Blumberg 
said. "The program, as it stands, will 
give our company the most ambitious list 
of pictures that we have ever under- 

Three of the 36 are completed and five 
are before the cameras, with the balance 
to be filmed during the next eight months, 
Blumberg revealed. 


The House Ways and Means Commit- 
tee got busy last week formulating the 
new tax bill which will decide whether 
the industry is to continue to b3 burden- 
ed by a 20% Federal admissions levy. 
As hearings closed on March 3rd, the 
outlook appeared much brighter, at least 
for reduction of the levy, than the 
gloomy prospect which followed Presi- 
dent Truman's tax message several 
weeks before. 

The improvement was due to the in- 

dustry's tremendous effort, spearheaded 
by COMPO's taxation and legislation 
committee under Abram F. Myers, to eli- 
minate the obnoxious levy, the mountains 
of mail that came from industryites and 
moviegoers urging repeal and the testi- 
mony before the committee by Myers 
and Gael Sullivan which presented the 
industry s arguments with telling force. 
Names On Screen 

As the hearings drew to a close, My- 
ers issued a bulletin urging notes of 
thanks be sent to all Congressmen who 
had signified their intention to vote 
against the tax. He suggested also that 
theatre screens carry the names of these 
legislators, noting that "some Congress- 
men who have indicated that they pro- 
pose to support repeal of the admission 
tax indicate they would not be averse to 
'screen credit' for their attitude". 

The COMPO committee chairman also 
pointed out the recent assurances given 
by Treasury Secretary John Snyder to 
Loew's Carter Barron in a private inter- 
view. Emerging from the discussions, 
Barron revealed that Snyder had author- 
ized him to say that the Treasury's at- 
titude toward admissions tax relief was 
not "frozen" and the Secretary had so 
testified before the House Ways and 
Means Committee. Snyder cited his 
statement in which he declared: "If it is 
clearly shown that someone has failed 
to come forward and show us a very 
distressing situation, we would be glad 
to consider it". 
Treasury Not "Opposed" 

Myers urged exhibitors writing their 
Congressmen to emphasize the Treas- 
ury's attitude. He asked that petitioners 
point out that "the Secretary's failure 
to include the admission tax among 
those recommended for repeal does not 
mean the Treasury is opposed to repsal 
of that tax. In other words, the Treas- 
ury is not playing favorites; it is con- 
cerned only that the Government's reve- 
nue be not impaired." 

That continuation of the admissions 
tax might do just that was the point 
made by a Michigan theatre circuit own- 
er. E. R. Holtz, head of the Grand Riv- 
iera Theatre Co. in Detroit, packed a 
set of statistics to Washington which he 
had compiled to show his Congressmen, 
which, he said, showed a loss to the 
Treasury of "at least $125,000,000" in in- 
come taxes because of the Federal ad- 
missions tax. 

Holtz based his figures on financial re- 
ports of three of his Detroit theatres, 
all of which suffered drops in attendance 
over the past few years, due in great 
measure, he feels to the admissions tax. 

(Continued on Pane 13) 

REVIEWS in This Issue 

The Reformer and the Redhead 14 

Under My Skin 14 

Woman on Pier 13 14 

Perfect Strangers 15 

Barricade 15 

Please Believe Me 15 

Three Came Home 16 

The Outriders 16 

Mother Didn't Tell Me 16 


Paramount^ Sensational 
Spring Product From Now Thru May...! ..i/. 

Everybody's Waiting for -fhe sign; 


Paramount Masterpiece 



Color by 








Produced and Directed by Cecil B. DeMille 

Screenplay by Jesse L Lasky, Jr , Fredric M Frank 
From original treatments by Harold Lamb and Vladimir Jabotinsky 
Based upon the history ol Samson and Delilah in the Holy Bible. Judges 13-16 

n \ n ventcd 

•em— an ° „„. v than t -' on f t sut e ■ • ■ an A, i" 
in mote m«*J - ng to see it for on W ra 

aWy wee bee 

Co/Gen Gray 
C/iartes Si'cfcford 
FnanGes Gifferof j 

ftp IN G- HIGH 








Produced and Directed by FRANK CAPRA • Screenplay by 
Robert Riskin • Additional Dialogue by Melville Shavelson and 
Jack Rose • Based on a Story by Mark Hellinger 
New Songs: Lyrics by Johnny Burke 


fam °»* story' Th Ca P™-~in M , 
that sm as (, h,v " s ar sing SJ - th "t p h ot 

Tell Your Congressman To Vote 
To Repeal The Movie Tax 


GARFtf 0 


Robert Cummings 
Lizabeth Scott 
Diana Lynn 






jrancis Lederer Joseph Calleia 



1 Produced by RICHARD MAIBAUM 
Screenplay by Robert Thoeren 




Screenplay by Robert Blees and Charles Schnee 

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If It's A Paramount Picture, 
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Phyllis Thaxfer • Lyle Bettger • Henry O'Neill 

a MITCHELL LEISEN production 

Produced by Directed by 


Screenplay by Sally Benton end Catherine Turney 

Thomas Gomez • Fred Clark 
Frank Faylen • Eduardo Noriega 

Directed by LEWIS R. FOSTER 

Screenplay by Produced by 

Geoffrey Homes M WILLIAM H. PINE 

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News and Opinion 

(Continued from Page 8) 


With the film industry anti-trust case 
apparently tucked safely in its trophy 
case, the Government was disposed to be 
indulgent. It raised no objections when 
RKO asked for an extention until Mar. 15 
to file its plan for partnership separa- 
tion. United Paramount's request for 
two years in which to divest itself of 
some 69 theatres, instead of 35 in each 
of two years, also met no objection from 
the Department of Justice. Both were 
granted by the Statutory Court. 

The only company which showed any 
indication of fighting the District Court's 
decree, Loew's, was granted a stay of 
60 days in the divorcement and divesti- 
ture provisions of the final decree in 
which to prepare an appeal to the U. S. 
Supreme Court, and an additional 30 
days if the high court were to hear the 
appeal. The Loew petition, filed by J. 
Robert Rubin, vice-president and general 
counsel, was accompanied with an affi- 
davit in which the company stated that 
it wanted to obtain a final ruling from 
the Supreme Court before it got busy on 
the intricate separation plan. One of the 
main problems involved therein, accord- 
ing to Rubin, was the refinancing of the 
company's $46,000,000 outstanding debt. 

Meanwhile, the board of directors of 
Paramount Pictures Corp., heard presi- 
dent Barney Balaban declare that earn- 
ings for the first quarter of 1950 were 
inestimable at this time, then voted a 
quarterly dividend of 50 cents per share 
on the common stock, payable March 29 
to stockholders of record March 16th. 
The dividend declaration laid low doubts 
that the new company would be in a 
position to do any pie-cutting in its ini- 
tial operational quarter. The wisdom of 
this move was immediately reflected in 
the active trading which lifted the com- 
pany's common to 19, after it had sunk 
well below that figure. 

Balaban also reported that as of March 
1st, approximately 86% of the outstand- 
ing stock of the old company had been 
exchanged for securities of the two new 
companies in accordance with the plan 
of reorganization. He urged the "small 
percentage of stockholders who have not 
yet made this exchange to do so prompt- 

He also declared his expectation that 
Paramount Pictures "will continue to 
shrink its capital structure as rapidly as 
possible and as conditions jutify so that 
the structure will bear a realistic rela- 
tion to the current outlook for future 
earnings," adding that the Corporation 
has purchased 73,710 shares of its stock 
for retirement since the first of the year. 



Not 50, Only 5 ( /c, He Says 


The flurry of conjecture following pub- 
lished reports that Warner r.tudios had 
made wholesale slashes in its personnel, 
allegedly up to 50 per cent, and would 
operate on a token production basis for 
the next several months, was branded 
"ridiculous" by studio chief Jack L. War- 
ner, and then nailed down conclusively 
by his subsequent announcement that 
Warners would put 20 properties before 
the cameras in the next four months. 

The story of the WB layoffs was car- 
ried in the New York Times, as well as 
a trade paper, and brought an immediate 
reply from the Warner executive. The 
layoffs amounted to about five per cent, 
he declared instead of the estimated 50 
per cent, noting that they merely coin- 
cided with "production seasons," and the 
cutback was "proportionate to the amount 
of actual productions." Only those em- 
ployees not directly involved in the pre- 
sent production program, mciuding pic- 
tures being readied for future produc- 
tion, will be laid off, he said. 

"It is not possible to produce in these 
times by hamstringing production oper- 
ations," Warner stated. ' We don't intend 
to do that at any time. We intend al- 
ways to retain the number of personnel 
necessary for the production of quality 
motion pictures which will succeed at the 
box office. Any economic measure taken 
by the studio is in the interests of good 
business and not on account of panic as- 
cribed to the industry because we did not 
choose to comment on a private business 
operation which is essentially our busi- 

"The history of the industry r.hows 
periodic fluctuations in employment and 
production, all based on thp availability 
of shooting scripts The present situa- 
tion is one of those and certainly :iot the 
basis for such depression stories. If any- 
thing, the present circumstance >s a 
healthy one and indicative of a proper re- 
gard for business operation which does 
not permit the carrying of unproductive 
expenditures. Every employee at the stu- 
dio must carry his full responsibility and 
we cannot carry those who do not have 
jobs to do." 


North Central Allied, headed by Ben- 
nie Berger, traditional firebrand who, 
with Ohio's Pete Wood, is famed for blis- 
tering blasts at distributor malpractices, 
shot a verbal bombshell at M-G-M and its 
sales chief, William F. Rodgers, for al- 
legedly forcing percentages on "Battle- 
ground" despite the conditional promise 
made by Rodgers to an Allied committee 
of flat rentals in certain small situations. 

In a bulletin to its members last week, 
NCA regretted that the company "has 
decided to sacrifice the goodwill it has 
enjoyed since Bill Rodgers' promise of a 
year ago to the Allied forced percentage 
committee that the company would sell 
fiat in all situations where its top product 
had earned the company $200 or less. 7 ' 
It charged that "Battleground" terms call 
for 40 per cent" in all situations, however 
small" up to a split figure and 50-50 be- 
yond that. In large cities the figure is 
35H on the same basis, the bulletin said. 

Marking its opposition to "forced per- 
centage in the smaller situations on prin- 
ciple." NCA claimed that "no theatre in 
the $750-$1000 gross class can operate at 
a profit playing product on this basis, and 
that other distributors would follow suit 
if M-G-M won out on "must percentage" 
pictures. The other evils which are by- 
products of percentage playing ■ — local 
checkers, auditors, and possible percen- 
tage fraud actions — would follow inevi- 
tably, the bulletin claimed. 

In a final paragraph, NCA admitted 
that "When Bill Rodgers made his com- 
mitment, he casually made the reserva- 
tion in appproximately these words, that 
'cf course Metro reserves the right at 
some future date to ask percentage on an 
exceptional picture,' " but added, "That 
was merely the door that is historically 
and traditionally left open when a dis- 
play of 'friendliness' is made. We cuggest 
you slam it shut in Metro's face." 


Are motion pictures in the same cate- 
gory as the press? The $64 answer to 
this question was very likely to be sup- 
plied by the United States Supreme 
Court as a censorship action in Atlanta 
took on the aspect of a test case to de- 
cide whether the same inviolability which 
applies to newspapers and radio under 
the Constitution can also be attached to 

The Supreme Court ruling became a 
dislinct possibility last week when an At- 
lanta Federal District Court ruled thai 
motion pictures are subject to censorship 
because they are not a part of the press 
and it was immediately announced that 
the decision would be appealed. The case 
was brought by Louis de Rochemont on 
behali of his production, "Lost Boun- 
daries," after the Atlanta censor board 
had banned the film in that city. De Roch- 
emont's counsel. Judge Samuel Rosen- 
man, indicated that an immediate appeal 
would be taken to the Circuit Court, and 
to the Supreme Court, if necessary. 
Opens Moor To Ruling 

In some quarters, it was seen that the 
ruling, handed down by Federal Judge 
M. Neil Andrews, opened the way for 

i Continued on Page 1 7 1 


An executive committee, consist- 
ing of Ned E. Depinet, Noah Die- 
trich and Howard Hughes, to gov- 
ern the overall affairs of RKO, was 
appointed by the board of directors 
in Hollywood last Wednesday 

Dietrich, executive vice-president 
of the Hughes Tool Co., was also 
elected chairman of the board, but 
there was no doubt in anyone's 
mind that the final word in all mat- 
ters of RKO policy would be that 
of Mr. Huhges. 

I\l \ R C H 13, 1950 



Rates • • • — generally, less in action spots 


30 minutes 

June Allyson, Dick Powell, David Wayne, 
C?cil Kellaway, Ray Collins, Robert 
Keith, Marvin Kaplan, Kathleen Free- 
man, Wally Maner. 

Directed by Norman Panama and Melvin 

Here is an amusing little romantic 
comedy which promises an entertaining, 
chucklesome 90 minutes for moviegoers 
who ask nothing more from the screen 
than simple enjoyment. The boxoffice 
result should be gratifying grosses for 
exhibitors everywhere. Fitting snugly 
into the category of family fare, "The 
Reformer and the Redhead" boasts a cast 
with fairly potent marquee power and 
countless rib-tickling situations. The lat- 
ter, Though not of the ultra-sophisticated 
species, will send the average moviegoer 
out of the theatre smiling approval, and 
will work up favorable word-of-mouth 
reaction. The basic plot of this Metro 
offering deals with a group of idealistic 
animal lovers led by a phony reform 
candidate for mayor, who clashes with 
the usual crooked politicos and emerges 
victorious, and honest. The redemption 
is accomplished after a chain of up- 

roarious encounters with assorted jungle 
beasts, some wild and some domesticated. 
Reminiscent of the recently headlined 
Oklahoma City leopard hunt is the es- 
caped killer-lion episode which embel- 
lishes the? film with one of its funniest 

In the familiar boy-meets-girl pattern 
are Powell and June Allyson, the re- 
former and the redhead, respectively. 
Powell mugs and does his double-takes 
with hilarious effect, and is wholly be- 
lievable in his love scenes with June, 
despite the fact that she is Mrs. Powell 
offscreen. As his spitfire partner-in- 
romance, Miss Allyson is both appealing 
and sympathetic as she takes full advan- 
tage of me opportunities to display her 
thespic and comic talents. Many genuine 
guffaws are provided by Marvin Kaplan, 
Powell's underpaid clerk, and David 
Wayne, whose particular brand of humor 
is a welcome importation from the 
Broadway stage. Cecil Kellaway, Ray 
Collins and Robert Keith offer adequate 
performances in their supporting roles. 
The screen play, based on Robert Car- 
son's story, was capably adapted by 
Norman Panama and Melvin Frank, who 
also collaborated in the production and 

STORY: Gabby little June Allyson, 

whose father, Cecil Kellaway, has been 
unjustly ousted from his position as zoo 
superintendent, displays her fiery temper 
in an unladylike discussion with wild 
game huntress Kathleen Freeman and is 
arrested for inciting the subsequent riot. 
Juno seeks out lawyer Dick Powell, re- 
form candidate for mayor, to act as her 
counsel and help her dad. Meanwhile, 
Powell is asked by Ray Collins, Free- 
man's sportsman-father, political ma- 
chine leader and the person responsible 
for firing Kellaway, to run for office 
with his support. The reformer gets 
from Kellaway damning information 
which gives Powell a club to hold over 
Collins. Believing Powell to be sincere 
politically and romantically, Allyson ac- 
cepts his engagement ring and helps him 
conduct his campaign. When she finds 
out the truth about Powell's relationship 
with Collins, she breaks the engagement. 
On the eve of the election, with victory 
in the bag, Powell's conscience comes to 
the fore, aided by the prodding of his 
law partner and campaign manager, 
David Wayne. In a radio speech, he ex- 
poses Collins and the machine, and wins 
over the voters, then is reunited with 
Allyson after he "courageously" captures 
an escaped killer-lion which he believes 
is tame. TAYLOR. 


Rates • • • — in metropolitan and action houses, less in smaall towns 

20th Century-Fox 
S3 minutes 

.John Garfield, Micheline Prelle, Luther 
Adler, Orley LindgTen, Noel Drayton, A. 
A. Merola, Ott George, Paul Bryar, Ann 
Codee, Steve Geray, Joseph Warfield, Eu- 
gene Eorden, Loulette Sablon, Alphonse 
Martell, Ernesto Morelli, Jean Del Val. 
Directed by Jean Negulesco. 

This melodrama contains a diverse mix- 
ture of some very brilliant qualities and 
some that are only so-so. It offers superb 
direction by Jean Negulesco; it is en- 
veloped in a bizarre and often exciting 
atmosphere; many of its scenes pack an 
emotional punch in the virile, hairy-chest- 
ed style of Ernest Hemingway, whose 
short story, "My Old Man," serves as the 
basis for the Casey Robinson screenplay. 
Counter-balancing these exceptional mer- 
its are a wavering story line and a notice- 

able stiffness in some of the perform- 
ances. It remains a superior drama that 
just misses being a great one. With only 
fair name values, to exploit, returns will 
be irregular and the picture should hit 
its best stride in the big town spots, par- 
ticularly the action houses. 

The sardonic Hemingway short story 
merely sets the scene for a conventional 
development. (The change of title was a 
dubious improvement.) In expanding 
this material, Casey Robinson, who pro- 
duced as well as scripted, has effectively 
captured the nostalgic yearning of an 
American expatriate and the tough affec- 
tion between a father and son. High- 
spots in the picture are the thrills of a 
French steeplechase, and the decadent at- 
mosphere of a Parisian boite where Miche- 
line Prelle sings. 

Miss Prelle, in her first Hollywood as- 
signment, shows promise of the artistry 
that made her a continental star and Gar- 

field also turns in a fine dramatic per- 
formance, although it remains within his 
familiar groove. 

STORY: Garfield, an unscrupulous 
jockey barred from American tracks, is 
practising his profession in Italy, where 
he pulls a double-cross on gambler Luther 
Adler. He barely escapes a beating, goes 
to Paris with his young son, Orley Lind- 
gren. The boy, who worships his "old 
man," is curious about his native land 
that he only dimly remembers. Out of 
pity for the boy, Micheline, a chanteuse, 
tries to help Garfield, now in desperate 
trouble, as Adler hounds him for revenge. 
Garfield buys a horse and trains it for the 
steeple-chase. When it becomes a favor- 
ite to win the Grand Prix, Adler orders 
him to throw the race. Knowing that 
this would break the boy's heart, Garfield 
rides an honest race and wins. But cross- 
ing the finish line, he is thrown and kill- 
ed. YORK. 


(This Review Appeared in the Oct. 10 Issue Under the Title, "/ Married a Communist" ) 
Rates • • • — in action spots 


73 minutes 

Laraine Day, Robert Ryan, John Agar, 
Thomas Gomez, Janis Carter, Richard 
Roper, William Talman, Paul E. Burns, 
Paul Guilfoyle, G. Pat Collins. 
Directed by Robert Stevenson. 

Taken as outright melodrama, "Woman 
on Pier 13" is solid film fare. Its anti- 
Red thesis serves mainly as an exploita- 
tion asset and is treated without preach- 
ment in a way that doesn't slow up its 
punchy pace. The Communists here are 
pictured as being typical underworld 
character, hard-faced, brutal, given to 
dashing out violent death to their enemies 
and the whole thing, with just a few 
changes of dialogue here and there, could 
have been another gangster meller. This 
approach isn't conductive to much serious 
consideration of the problem involved, but 
ft makes for exciting and suspenseful 

screen entertainment. And fortified with 
all-around strong performances and the 
capable direction of Robert Stevenson, it 
measures up as very promising boxoffice 
material. The theme, reminiscent of re- 
cent newspaper headlines, will touch off 
considerable word-of-mouth, but since it 
is essentially a sock action thriller, it 
would be best generally to play it up as 

Tall and rugged Robert Ryan is espe- 
cially effective as the ex-Commie, while 
Laraine Day is well cast as his solicitous 
wife. Thomas Gomez, as the venomous 
party leader, and John Agar, as the un- 
suspecting dupe, are both adequate, but 
it is new-comer Janis Carter, cast in a 
brittle, sophisticated role, who makes the 
best impression and looks definitely set 
for stardom. The production details are 
satisfactory, blending well with the virile 

STORY: As she embarks on her hon- 
eymoon, Laraine Day is wnaware that the 

man she married, Robert Ryan, was once 
an active member of the Communist par- 
ty. He is now a west coast shipping exe- 
cutive in charge of labor relations and is 
on the verge of settling negotiations ami- 
cably with union leader Richard Rober, 
when the Reds get their hooks into him. 
His old flame and former party comrade, 
Janis Carter, is jealous over the brush-off 
and reports him to her boss, Thomas Go- 
mez. Upon threat of exposure as a crim- 
inal, Ryan is forced to antagonize the 
union and encourage a strike. Meanwhile 
Janis falls for Laraine's brother, John 
Agar, and eventually spills the whole 
story. Thereupon Gomez orders both of 
them murdered and his hired gunman, 
William Talman, does the job with great 
relish. Laraine does some solo sleuthing, 
finally tags Talman. She is trapped and 
held captive by Gomez until Ryan bravely 
bursts in and, in the hail of bullets that 
follows, he is hit and dies in her arms. 




Rates • • + as top dualler; less for action houses 

Warner Bros. 
88 minutes 

Ginger Rogers, Dennis Morgan, Thelma 
Hitter, Margalo Gillmore, Anthony Ross, 
Howard Freeman, Alan Reed, Paul Ford, 
Harry Bellaver, George Chandler, Frank 
C o n 1 a n, Charles Meredith, Frances 
Charles, Marjorie Bennett, Edith Evanson, 
Paul McVey, Whit BisseL 
Directed by Bretaigne Windust. 

As a study of a wide assortment of 
characters thrown together and forced to 
live with each other as members of a 
murder case jury, '"Perfect Strangers" of- 
fers some amusing moments, but not 
enough. As a romantic melodrama of two 
of the jurors, each married but drawn 
inevitably into love for each other, there 
are a few poignant moments, but not 
enough. And, as a detailed exposition of 
the way the jury system works, there are 
several interesting moments, but not 
enough. In brief, this Warner offering 
never quite jells as either amusing, poig- 
nant or interesting movie entertainment. 
The fragile story thread, burdened with 
an overabundance of dialogue and a dearth 
of action, is unequal to the demands of 
discriminating audiences, who, of late, 
seem to have grown to significant size. 
The Ben Hecht-Charles MacArthur stage 
play may have been a suitable vehicle for 

the less stringent requirements of the legi- 
timate theatre, but for the screen it is 
slow-moving, talky and unconvincing. Ex- 
ploited as a woman's picture with the co- 
stars of "Kitty Foyle" reunited once 
again, it may reach slightly better-than- 
average grosses in a top dual spot. The 
current marquee value of the stars, Ginger 
Rogers and Dennis Morgan, is dubious, 
however. For action houses the exploita- 
tion tack would be toward the murder 
trial, but these fans will be a squirmy lot 
as they wait for something to happen. 

Miss Rogers does a creditable job as 
the young wife separated from her hus- 
band who finds that she has become the 
"other woman" in Dennis Morgan's hap- 
pily married life. Morgan alternates be- 
tween a worried look and sickly smile in 
as unconvincing a performance as even 
he has ever given. The supporting cast, 
however, does much better. Standouts 
are Thelma Ritter as a not-too-bright 
housewife and Anthony Ross as a self- 
styled ladies' man. These two are respon- 
sible for what laughs the film garners. 
Bretaigne Windust's direction of this Jer- 
ry Wald production is pedestrian for the 
most part, although he does impart occa- 
sional touches which give promise of rais- 
ing the film to higher levels. The promise, 
however, goes unfulfilled and peters out 
well before the lame ending. 

STORY: Tossed together in a jury 

hearing a wife-murder case are a group 
of assorted men and women, including 
Ginger Rogers, a minor department store 
executive separated from her husband, 
and Dennis Morgan, happily married and 
father of two girls. Rogers and Morgan 
are attracted to each other, eventually fait 
in love as they are forced to share their 
nights and days together in the isolated 
jury quarters, and plan separate divorces 
and ultimate marriage. Although most 
of the jurists feel that the defendant, a 
man accused of shoving his wife over a 
cliff so that he could marry another wom- 
an, is guilty, evidence begins to point 
toward his innocence and all but three 
vote for acquittal. Rogers tries to win 
over the hold-out jurors, lures one into a 
reversal of his decision and forces another, 
Margalo Gillmore, into admitting that em- 
bittered by an unsuccessful marriage, she 
is venting her gall on the accused. The 
last hold-out, Howard Freeman, desperate- 
ly exposes the love affair between Rogers 
and Morgan. Her reply, that their love 
was something neither could help, that it 
is not a criminal thing, nor something 
necessarily leading to crime, convinces 
even Freeman and the jury votes for ac- 
quittal. Alone at the trial's end, they real- 
ize that their love could never bring them 
happiness and they separate, each to re- 
turn to his and her respective spouse. 


Rates • • • 

for action houses; good dualler elsewhere 

Warner Bros. 
75 minutes 

Dane Clark, Raymond Massey, Ruth Ro- 
man, Robert Douglas, Morgan Farley, 
Walter Coy, George Stern, Robert Griffin, 
Frank Marlowe, Tony Martinez. 
Directed by Peter Godfrey. 

"Barricade" is somewhere between the 
minor league gallopers and the super-de- 
luxe westerns. For the latter category, it 
is a bit shy in the big name department, 
but it won't take a back seat as far as 
rip-roaring action is concerned. It has 
more than its share of that raw violence 
to surfeit the most avid of action fans. 
Almost every scene of this Saul Elkins 
production fairly bristles with brutality 
as it exploits the sock in the jaw, the kick 
in the stomach, with crunching versimili- 
tude. This emphasis on primordial physi- 

cal conflict, though much too heavj', for 
the weak-stomached will by no means dim 
its prospects on the action half of a twin 
bill and can stand alone adequately in 
the action houses. To further bolster its 
rugged appeal is a soundly worked out 
plot, while the excellent Technicolor adds 
much to the gory proceedings. 

The performances, also, are of compe- 
tent calibre. The stock figure of the merci- 
heavy is given larger-than-life dimen- 
sions in Raymond Massey's portrayal, 
with his sonorous voice and grandiloquent 
manner. Dane Clark is called upon for 
little more than to absorb an incredible 
seres of beatings and Ruth Roman, in 
looks and talent, is more than adequate for 
the role's requirements. Robert Douglas 
offers impressive support and others in 
bit roles, especially George Stern, are sur- 
prisingly effective. 

STORY: Massey is the brutish over- 
lord of a desert mining camp, manned by 

outlaws, where two fugitives from justice, 
Dane Clark and Ruth Roman, converge. 
She has been dangerously injured in a 
stagecoach wreck and her companion, Ro- 
bert Douglas, nurses her back to health. 
Clark stifles his defiance of the tyrant, in 
fear of being turned over to the law, and 
meanwhile he and the girl plan to escape. 
(Both being ex-jailbirds, they immediately 
strike a romantic chord). Clark blows up 
the mine, trapping Massey in the debris, 
and the pair set out across the desert. 
Forced to turn back because their water 
has been salted, they find a scene of havoc 
and desolation. Massey has escaped from 
the tunnel in time to rally his renegades 
against an attack by the rightful owners 
of the mine. All are killed except Massey 
and he finally meets his end in a brutal 
hand-to-hand encounter with Clark. To 
save Douglas, who has been critically 
wounded, the couple return to face the 
law. YORK. 


Rates • • 4 on name values; n. g. for 


87 minutes 

I Deborah Kerr, Robert Walker, Mark Stev- 
i ens, Peter Lawford, James Whitmore, J. 
i Carrol Naish, Spring Byington, Carol 

Savage, Drue Mallory, George Cleveland, 

Ian Wolfe, Bridget Carr, Henri Letondal, 

Gaby Andre, Leon Belasco. 

Directed by Norman Taurog. 

"Please Believe Me" is a light, romantic 
comedy that won't displease anyone; 
! neither will it get any raves of apprecia- 
: tion. It makes for mild entertainment that 
i will register only so-so grosses in most lo- 
I cations; n.g. for action spots. From its 
I line-up of stars, it is somewhat of a let- 
I down, for it is only moderately amusing 
I at its best; at its worst, moderately ted- 
I ious. The fault seems to be somewhere 
Min a commonplace script which whips up 

action spots 

some farcial situations around some make- 
believe characters and gives them some 
would-bs sparkling quips to recite. This 
dizzy yarn of three guys chasing after- 
one girl does offer some occasional chuck- 
les and there is pleasant enough diversion 
for the easy-to-please. But when it's over, 
the patrons will be expecting some strong 
entertainment in the supporting feature. 

The slick details of Val Lewton's pro- 
duction are one of the few major assets 
in its favor. All of the performers work 
hard to squeeze out their quota of laughs. 
Too hard and too obviously. Of them, 
Deborah Kerr seems to be the most re- 
laxed, although she is not completely at 
home in this type of frothy comedy. Since 
it is apparent from the very beginning 
which one of the suitors — Robert Walk 
er, Peter Lawford or Mark Stevens — is 
slated to win the contest, there is little 
novelty left for the ending. 

STORY: Deborah Kerr sets out from 

England to claim her inheritance, a huge 
ranch in Texas. On ship-board, she is 
pursued by Robert Walker, a weak-witted 
fortune hunter, and Peter Lawford, a mil- 
lionaire play-boy. Walker is in debt to a 
New York gambler who has posted James 
Whitmore to see that he makes a lucra- 
tive marriage. Lawford also has a guard- 
ian — his lawyer, Mark Stevens, whose 
duty it is to ward off scheming females. 
He is convinced that Deborah is in league 
with Walker to fleece his client, but never- 
theless falls for her charms. In New 
York his suspicions are confirmed when 
he learns that her inherited property is 
completely worthless. Walker is now on 
the spot with the gambler for his debt 
as well as for the money he spent in 
wcoing Deborah. She resorts to a confi- 
dence racket to raise the money and it 
eventually comes out of Lawford's capa- 
cious wallet. Then she picks the lucky 
follow — it is Stevens. YORK. 

MARCH 13, 1950 



Rates » » * I generally 

20tb Century-Fox 
IOC minutes 

Claudette Colbert, Patric Knowles, Flor- 
ence Desmond, Se3suc Hayakawa, Sylvia 
Andrew, Phyllis Morr's, Kermit Whitfield, 
Kim Spaulding, Mark Keuning, 
Directed by Jean Ncgulesco. 

It is difficult to recall another film of 
the past few years that make3 as intense 
an assault on the spectator's emotions as 
"Three Came Home." Translating Agnes 
Newton Keith's personal story of her im- 
prisonment by the Japane:e in Borneo 
shortly after the outbreak of the war, 
producer Nunnally Johnson has fashioned 
a movie that tells in highly dramatic and 
suspenseful terms the hardships and suf- 
ferings of those who were interned by the 
enemy in the far eait. In a sense, it is 
a gruelling motion picture, one that may 
actually over-tax the emotional capacities 
of the average woman, but there can be 
no gainsaying the fact that it will engross 
all audiences deeply and that the word of 
mouth will be highly favorable. Backed 
by a sti'ong 20th Century-Fox campaign, 

"Three Came Home" will be a strong at- 
traction in all types of theatres in all lo- 
calities. V/hile in the main the story 
depicts the grim, harrowing, cruel experi- 
ences of Mrs. Keith, her husband and their 
four-year-oid son, as the only American 
members of a small white colony trapped 
by the Jap onslaught through the islands, 
flashes of humor, ample action and tre- 
mendous suspense are there to please the 
whole range of moviegoer tastes. There 
is, too, a stirring inspirational quality to 
this fine production from Darryl Zanuck's 
studio, in the fighting faith and courage 
of Mrs. Keith and the other women in- 
terned with her. "Three Came Home" is 
an outstanding movie, one that exhibitors 
may well present proudly and with maxi- 
mum exploitation support. 

In the roie of the authoress, Claudette 
Colbert has the meatiest dramatic role of 
her career and makes it thoroughly be- 
lievable. She is superb. As her husband, 
Patric Knowles is fine. An immense per- 
formance is turned in by Sessue Hayaka- 
v a as the Jap colonel who befriends Mrs. 
Keith and who displays human qualities 
one is not accustomed to find in war ene- 

mies on the screen. Florence Desmond, 
as a good-natured British internee, Mark 
Keuning, as the little boy, and the entire 
supporting cast merit applause for adding, 
each of them, to the credibility and inter- 
est of the story. Jean Negulesco's taut 
and punchy direction extracted the most 
from Mr. Johnson's screenplay. 

STORY: As Mrs. Keith, Claudette Col- 
bert and her husband, Patric Knowles, and 
young son, Mark Keuning, are the only 
Americans among a small band of Euro- 
peans captured when the Japs invaded 
North Borneo early in the war. The hus- 
bands and wives are sent to separate 
camps and permitted to see each other 
only on rare occasions. The story depicts 
the terrible hardships undergone by the 
women and their children. It is only 
through the kindness of Jap colonel Ses- 
sue Hayakawa that Miss Colbert is saved 
from death by torture at the hands of 
her captors for reporting an attempted 
rape by a Jap soldier. Finally, in 1945, 
the Allied forces liberate Borneo, and Miss 
Co'bert, with her boy, are eventually re- 
united with her husband, who was crip- 
pled by the ordeal. WAX. 


Rates • • • — generally as top dualler; more in action houses 


93 minutes 

Joel McCrea, Arlene Dahl, Barry Sullivan, 
Claude Jarman, Jr., James Whitmore, 
Ramon Novarro, Jeff Corey, Ted De Cor- 
sia, Martin Garralaga. 
Directed by Roy Rowland. 

"The Outriders" sets out to be superior 
•western fare and never once falters along 
the way. This actionful account of one 
of the sidelights of the Civil War, elabor- 
ately filmed in Technicolor by Metro, is 
blessed not only with the standard in- 
gredients which make for rip-roaring 
horse opera, but boasts also the class pro- 
duction which movie-goers have come to 
expect of major films. In short, "The 
Outriders" is a top-drawer outdoor attrac- 
tion, as well as a natural for action hous- 
es everywhere. Sterling performances by 
its cast, a fast-paced story and some eye- 
filling Technicolor scenery help to provide 
a welcome entry in the top dual spot for 
exhibitors whose audiences reserve their 
patronage only for the deluxe westerns. 

Under the able direction of Roy Rowland 
the story moves smoothly and quickly, 
avoiding the usual "they went thataway" 
dialogue and gestures found in the run- 
of-the-mill cowboy picture. There are 
several spectacular scenes, most memor- 
able being the fording of the raging tor- 
rents of a flood-tide river during which 
the travellers watch helplessly as one of 
their number is swept to his death down- 

The loyal Confederate soldier who un- 
dertakes a distasteful task for the "cause" 
is played in his usually stolid manner by 
Joel McCrea. His romantic partner, Ar- 
lene Dahl, whose part calls for more than 
just her decorative qualities fills the role, 
and the screen, very nicely. Barry Sulli- 
van and James Whitmore (of "Battle- 
ground" distinction) portray McCrea's 
sidekicks effectively, while Jeff Corey, 
Claude Jarman, Jr., and Ramon Novarro 
round out the strong supporting cast. 

STORY: Three Confederate prisoners- 
of-v ar, Toel McCrea, Barry Sullivan and 
James Whitmore escape from a Union 
prison camp in the waning days of the 

Civil War and take refuge with a band 
of rebel raiders led by Jeff Corey. Con- 
vinced that Corey is fighting for the 
Southern cause, McCrea agrees to ride to 
Santa Fe, join as outriders a Mexican 
freight caravan hauling a fortune in gold 
for the Northern forces, and lead the un- 
suspecting entourage into a "bushwack- 
ing ' party, staged by Corey, who will 
send the gold on to Richmond. To com- 
n'icate matters, McCrea falls for Arlene 
Dahl, who has talked Ramon Novarro 
into letting her and her youthful brother- 
in-law, Claude Jarman, Jr., accompany his 
train East. After the boy is drowned 
while fording a flooded river, McCrea is 
relieved to hear the news that the war 
has ended, thinking now he will not have 
to lead his sweetheart into the trap. Sulli- 
van tells him Corey intended to keep the 
gold and share it with his men, whereby 
McCrea makes his ex-friend a prisoner 
end leads the caravan into the ambush. 
Novarro kills Corey under a flag of truce, 
while the rest of the raiders, including 
Sullivan, are wiped out in the ensuing 
battle. TAYLOR. 


Rates * • • — if exploited; only fair for action houses 

20th Century-Fox 
8" minutes 

Dorothy McGuire, William Lundigan, 
June Havoc, Gary Merrill, Jessie Royce 
Landis, Joyce MacKenzie, Leif Erickson, 
Reiko Sato, Anthony Cobb, Tracy Cobb, 
Directed by Claude Binyon. 

"Mother Didn't Tell Me" is a delightful 
domestic comedy-drama, with accent on 
corned}', that brings talented Dorothy Mc- 
Guire back to the screen in the type of 
role that first brought her screen fame, 
the girl-wife blessed with a combination 
of naivete and beyond-her-years sagacity. 
It is also a thoroughly entertaining treat- 
ise on the woes of a doctor's wife and 
explores that field with the same fresh- 
ness and comic inventiveness that char- 
acterized the novel, Mary Bard's best-sell- 
er, "The Doctor Wears Three Faces," 
from which writer-director Claude Binyon 
adapted the screenplay. Binyon's script 

abounds with snappy dialogue, some of it 
bordering on the risque, and intriguing 
situations. His direction, too, bears out 
the oft-proved thesis that a writer-director 
combination is a happy one. While most 
of the laughs are of the chucklesome va- 
riety, they often come in clusters that 
drown out some of the dialogue, and the 
whole leaves one in a happy mood and 
good for effective word-of-mouth reaction. 
"Mother Didn't Tell Me" makes fine fam- 
ily entertainment that should be good for 
some top-heavy grosses in all but the 
action spots. 

Dorothy McGuire carries off the princi- 
pal role with all the charm and personality 
that characterized her "Claudia" perform- 
ances. William Lundigan, as her doctor- 
husband, is well-suited to the part and 
some stand-out performances are register- 
ed by June Havoc, Gary Merrill, Jessie 
Royce Landis, Joyce MacKenzie and Leif 
Erickson. The latter, particularly, regi- 
sters strongly in a brief bit as a wolfish 
psychiatrist who takes advantage of his 

profession to make love to every woman 
he sights. Miss Havoc, too, gets off some 
spicy cracks and makes every minute she 
appears on the screen pay off. 

STORY: Dorothy McGuire visits young, 
good-looking doctor William Lundigan 
and sets her sights on marriage with him. 
After a brief courtship, they are married 
over the disapproval of his mother, Jessie 
Royce Landis, and she is quickly inducted 
into the hardships of a doctor's wife. Aid- 
ed by a veteran of the tribulations of a 
physician's wife, June Havoc, Dorothy 
makes a go of it despite an unfortunate 
e'ebut into the medical circle, and soon be- 
comes the mother of twins. She soon 
meets another problem, a female doctor, 
Joyce MacKenzie, who shares her hus- 
band's office and works with his mother 
to undermine their marriage. MacKenzie 
is successful in alienating the pair, but a 
near-tragic incident which threatens the 
twins' life brings McGuire and Lundigan 
together again and wins over the contrite 
mother to Dorothy's side. BARN. 



(Continued from Pane 13) 

films to receive official blessing as a re- 
cognized member of the press with all 
its privileges. Had Judge Andrews ruled 
against the Atlanta censor board, the ac- 
tion would have stopped at that point, 
m all likelihood. However, should the 
Supreme Court receive the case and rule 
in favor of films as eligible to receive the 
benefits of the Bill of Rights as applied 
to freedom of speech and press, an entire 
new vista of opportunity might be open- 
ed. The Federal admissions tax, for ex- 
ample, would have little chance of survi- 
val if movies were accorded a rating on 
a par with press and radio. 

Judge Andrews ruling opened the door 
for the high court to make the decision. 
In his decree, he cited the 1915 Supreme 
Court decision which permitted censor- 
ship of films by local and state govern- 
ments. "Unless motion pictures can be 
offered the coverage extended the press, 
it is clear that the police power of the 
state has not been exceeded," he declared. 
Judge Andrews refused to accept the 
Supreme Court dictum in the industry 
anti-trust case in which the high court 
declared: "We have no doubt that motion 
pictures, like newspaper and radio, are 
included in the press, whose freedom is 
guaranteed by the First Amendment," on 
the basis that this was not part of an 
actual decree. The Supreme Court, once 
it receives the "Boundaries" case, can 
make a specific ruling on this issue. 
"Curley" Ruling 

The Supreme Court may rule on this 
question even sooner. It will be peti- 
tioned for review of the Memphis censor 
board's ban on "Curley," by Hal Roach, 
United Artists and the Motion Picture 
Ass'n of America, all of whom are ac- 
tively fighting censor action by Lloyd 
Binford, Memphis censor czar. The issue 
of violation of the Bill of Rights is the 
principal one here, also, and if the high 
court rules on "Curley," the same effect 
will be obtained. 

Paradoxically, the MPA's battle against 
censorship apparently did not apply to its 
own organization. Vittorio de Sica's "The 
Bicycle Thief," prize-winning Italian film, 
distributed here by Mayer-Burstyn, was 
denied the MPA's Seal of Approval by 
Production Code Administrator Joseph 
Breen until two of the scenes in the film 
were cut. The two objectionable se- 
quences were "the shot of the little boy 
about to make his toilet against the wall" 
and "all the interior shots in the bordello, 
into which the man chases the thief." 
State Censor Approve 

Oddly enough, censor boards in three 
States, New York, Pennsylvania and 
Ohio, had approved the film without re- 
questing these cuts, it was pointed out by 
the American Civil Liberties Union, 
which took up cudgels on behalf of distri- 
butor Burstyn and de Sica. Elmer Rice, 
chairman of the CLU's National Council 
on Freedom from Censorship, in a letter 
to Eric Johnston, said, "It ill behooves 
on organization which is carrying the 
fight on this vital issue to the US Su- 
preme Court to lay down more rigid stan- 
dards than the very censorship bodies it 

In a cable from Rome, de Sica refused 
to make the deletions, pointing out that 
the film had been shown intact in every 
other country, "including England" and 
noting that the bordello scene had been 
lauded by critics for the "delicate way" 
it was portrayed and that the "wall scene" 
was "judged everywhere simply candid." 

(Continued on Page 26) 

M A R C H 13, I 9 5 0 


°ne fori 



Story and Screenplay by MARTIN RAGAWAY — LEONARD STERN 


Short Subjects 


HOLLYWOOD'S AURA of glamor and 
the golden touch has become the 
springboard for a number of rackets and 
other illegal promotions throughout the 
country. In a warning to its regional af- 
filiates last week, TOA says that reports 
from various sections of the nation "indi- 
cate an alarming growth" of these rackets 
and requests members to be on the lookout 
for their development within each unit's 
territory. Any suspicious characters 
claiming Hollywood identities, says Gael 
Sullivan in the bulletin, can be verified 
simply by getting in touch with Art Ar- 
thur, executive secretary of the Motion 
Picture Industry Council in Los Angeles, 
for accurate identification and any avail- 
able information on their credit standing. 
Sullivan cited the action taken by local 
and Federal agencies in Hollywood recent- 
ly to halt operations of seven of Movie- 
town's television talent agencies, who al- 
legedly have been mulcting clients of an 
estimated $20,000 weekly. He pointed out 
that "whenever shady promoters are driv- 
en out of one town, or disappear when 
their operations come under official scru- 


For "Quo ] adis," A Year 

tiny, they invariably turn up in another 
to resume their nefarious trade, unless 
they are apprehended and sent to jail. 
The publicity which accompanies their op- 
erations reflects on the entire industry, 
and it is therefore essential that every 
exhibitor exercise constant vigilance and 
promptly report all such operations with- 
in his territory." Watch particularly, he 
added, for any promotions involving tal- 
;ent schools, dancing schools, contests for 
screen tests involving free trips to Holly- 
wood, etc. 

* * 

I^HE DAYS WHEN exhibitors were told 
by exchangemen, "Sorry, Joe, your 
print v as burned up in that fire we had 
here yesterday," seem to be over. For 
the last four years, according to the Mo- 
tion Picture Association, there was no 
[reportable fire loss in any of the more 
ithan 400 regional film exchanges of the 
MPAA's member companies. This was 
pade known in the Association's Conser- 
vation department report for 1949, which, 
incidentally, was the tenth of the 24 years 
pince the department was established in 
(which member company exchanges enjoy- 
ed tireless records. The average annual 

fire loss from 1926 to the end of 1949 is 
$202, a record low which is probably un- 
matched by any industry or commercial 
organization of similar operational scope, 
regardless of the product handled. 

Department director John B. McCul- 
lough credits the amazing success of the 
program to the thoroughness of the self- 
regulatory system wherein each of the 
companies' exchanges is inspected month- 
ly by branch managers who are appointed 
on a rotating basis as field conservation 
directors for periods of six months. 

+ * 

'"THE ADVANTAGE OF setting up re- 
lease dates for many months ahead is 
readily apparent with the disclosure of 
M-G-M's long range exploitation, publi- 
city and advertising plans for all its re- 
leases, now set up to the end of August 
by sales vice - president William F. 
Rodgers. Following conferences at the 
home office, Howard Dietz, v.p. and direc- 
tor of advertising, publicity and exploita- 
tion, is huddling on the West Coast with 
Rodgers and studio toppers Louis B. May- 
er and Dore Schary for a series of pro- 
motions dubbed the most ambitious for 
the company since GWTW and "Battle- 
ground." Some typical examples: For 
"Annie Get Your Gun," an entire line of 
feminine Western apparel and accessories 
will be merchandised, while a nation-wide 
tour of Dot Lind, "Modern Annie Oakley" 
sharp-shooting beauty, began March 1. 
On that date, also, a national tour began 
on behalf of "Yellow Cab Man" in the 
form of a cross-country run of a taxicab 
driven by cast member Bridget Carr on a 
tour sponsored in cooperation with the 
National Safety Council. Other films will 
be similarly deluged with advance exploi- 
tation. The much-heralded "Quo Vadis," 
finally set to begin production in May for 
release next year will get a full year's 
worth of national advance campaign pro- 

* * 

PARAMOUNT HOPES to add another 
* commemorative day to the American 
calendar. With "Mother's Day" and "Fa- 
ther's Day" reasonably well-established. 
Max E. Youngstein and his ad-publicity- 
exploitation staff have embarked on a 
campaign to bring deserved recognition to 
the wives of America with a "Dear Wife 
Day". The date of celebration, however, 
will vary in most areas to coincide with 
the playdates of Paramount's "Dear Wife." 
The plan aims at influencing local Cham- 
bers of Commerce to declare "Dear Wife 
Day" and enlisting the help of local mer- 
chants and newspapers in promoting the 
celebration. One town, Van Nuys, Cali- 
fornia, has already carried through the 
idea with reportedly huge success, both 
from a standpoint of commercial value 
to the stores and in tickets sold at the 
theatres which opened the film. To carry 
the idea to all parts of the nation, a spe- 
cial kit is being sent out to all the field 
reps describing the mechanics of organiz- 
ing the "Dear Wife Days." , 
* * 

^ tween producer and exchangeman was 
announced by Frank Melford and John 
Rawlins, partners heading Ventura Pic- 
tures, whose first picture, "Boy From In- 
diana" is being distributed by Eagle Lien. 
The plan works this way: In each terri- 
tory, the E-L branch has been assigned a 
nominal quota in an arrangement worked 
oi.t hpt^ pon the producers and the E-L 
sales organization. Beyond this quota, 

20 r /r of all revenue derived by that branch 
will be distributed among the salesmen in 
that exchange. Melford claims that "by 
making the Eagle Lion salesmen, in ef- 
feet, partners in our venture, we are giv- 
ing tnem a real incentive and a just re- 
ward for their efforts." If this system 
catches on, other producers may have to 
jump on the bandwagon in the interest of 
self-preservation. It would be awfully 
hard for any saiesman to resist plugging 
a film out of which he may get some ex- 
tra cash, possibly at the expense of other 

York garnered a valuable hunk of 
publicity when the New York World-Tele- 
gram gave the early-morning line waiting 
to get in to the Mayfair a four-column cut 
right at the top of the front page. Headed 
"Once Upon a There Was a Line," 
the photo showed the predominance of 
adults in the queue, going on to explain: 
"And the line was outside a theatre called 
the Mayfair, at Seventh Ave. and 47th St. 
There a moving picture named "Cinder- 
ella" was opening at 8:30 in the morning. 
It was a holiday for school children, and 
the line numbered about 200 when the 
time came for the doors to open. But do 


For the Wives, A Day 

you know what? There were about ten 
grownups for every child, even counting 
mothers with multiple children, like the 
staircase-shaped group at right." 
* * 

^ Goldenson, United Parr mount The- 
atres president, and head of the newly- 
organized United Cerebral Palsy Associa- 
tions and named Max E. Youngstein as 
public relations chairman for the UCP's 
national campaign this May . . . Two exe- 
cutives of the Hughes Tool Company and 
one bank executive figured in RKO board 
changes last week. Noah Dietrich, exe- 
cutive vice president of the Hughes Tool 
Co. was elected chairman of the board, 
while Thomas A. Slack, v.p. and general 
counsel of Howard Hughes organization, 
and A. D. Simpson, vice-chairman of the 
Houston, Texas, National Bank of Com- 
merce, were named directors to succeed 
George H. Shaw and J. Miller Walker, re- 
signed ... C. B. DeMille has received 
Look Magazine's "All Industry Achieve- 
ment Award" in recognition of the veter- 
an nroducer's "Lone and unrivaled con- 
tribution to the screen." 

MARCH 13, 1950 



The New York newspaper critics were 
generally agreed upon the more important 
aspects of Twentieth Century-Fox's treat- 
ment of Agnes Newton Keith's novel, 
"Three Came Home." They were unani- 
mous in their opinion that the production 
was handled with integrity and sincerity, 
sharing, though in varying degrees, un- 
comfortable reaction to the film's portray- 
al of brutality and cruelty in the Japanese 
prison camp. 

"It will shock you, disturb you, tear 
your heart out," writes the Times' Bosley 
Crowther of "a bold and heroic screen 
drama" which he feels "bids fair to stand 
as one cf the strongest of the year." 

In the Herald Tribune, Howard Barnes 
finds it "terrifying, but it has guts." He 
calls it a "different kind of war film," one 
which "will be remembered long after one 
has seen it." 

Rose Pelswick, in the Journal American, 
also describes it as "a harrowing picture 
. . . finely made . . . written, directed and 
acted with integrity and genuine emo- 

"Not a pleasant nor inspiring experi- 
ence," concludes the World-Telegram's Al- 
ton Cook, who found it rather "a grueling 

Seymour Peck, in the Compass, sees 
"a strong and stark film . . . not the out- 
and-out sensational, Beast of Berlin kind 
of movie." It is not, he writes, "to put it 
gently, a pretty picture . . . Leaves one 
worn and shaky when it is done." 

The Post's Archer Winsten says it "is 
extraordinary in many ways," questioning 
the justification for filming the story. It 
should, he adds, "be popular because it 
tries harder than most to capture actual- 



'One of the major virtues ... is that at 
least it gets you in out of the cold ... No 
demands for any spryness in thinking will 
be made on the audiences." — COOK, N. Y. 

"Starts off with a good measure of sus- 
pense but becomes pretty wild-eyed as it 
goes along." — PELSWICK, N. Y. JOUR- 

"Although it never pretends to be any- 
thing but melodrama . . . adds some con- 
vincing characterizations to its suspense 
... A modest entry . . . Has its share of 
genuine excitements . . . presented in a 
brisk manner." — A. W., N. Y. TIMES. 

"A great mistake for Ida, for Universal 
Pictures, for you and for me." — S. P., 

"Fair amount of hard work . . . wasted 
on an implausible melodrama . . . Drags 
on and on." — PIHODNA, N. Y. HERALD 



"Jet plane is the star . . . Maintains a 
high degree of suspense and tension 
throughout." — PELSWICK, N. Y. JOUR- 

"Most wildly exciting Bogart picture 
since this vibrant deadpan ceased his ex- 
ploits in movie versions of the last war 
. . . Story may be synthetic and cut to 
standard pattern but the excitement . . . 
decidedly is not." — COOK, N. Y .WORLD 

"A thoroughly routine product . . . Suc- 
cessively dull, thrilling, stale and pro- 
photic of the future. Public response 



What the Newspaper Critics Say About New Films 

should be as varied as the picture itself " 
"Moves with exciting speed when it is 
airborne, but slows down to a plodding 
walk as routine as a mailman's rounds 
when it hits the ground . . . Only a neatly- 
turned action yarn." — A. W., N. Y. 

"Bogart and jet-propelled airplanes are 
tangled up in the threads of complicated, 
illogical emotional patterns . . . An ex- 
hausted, defeated show . . . Lacks sensible 
material." — GUERNSEY, N. Y. HERALD 



"Highly humorous . . . One of the win- 
ter's most bright delights and joys . . . 
Comedy of errors and no more." — CROW- 

"John Ford . . . turned to fantasy and 
hilarity . . . Has considerable zest and pic- 
torial excitement . . . Has a richly sardonic 
humor . . . Lacks bulk, but it has a deep 
fund of laughter." BARNES, N. Y. 

"A merry little jest . . . Steered care- 
fully away from the customary gag 
strewn comedy path ... To balance the 
recent war movie menu, it comes at just 
the right time." — A. C, N. Y. WORLD 

"A fresh and funny joke . . . Has some 
thin and slow moments . . . also moments 
when it goes brilliantly mad ... A smart 
and original tall tale of the war." — 

"Gentle fun-making, not bitter . . . Fun- 
ny in its sardonic, intellectual way . . . 
Laughs are good, freshly-minted stuff." — ■ 

"A diverting piece, a light and breezy 
comedy that should keep . . . audiences 
chuckling." — PELSWICK, N. Y. JOUR- 



"Pat, happy ending . . . shrinks (the 
film! alarmingly to the neat proportions 
of a rise-fall-and-recovery drama . . . The 
farther it goes toward Drama with the 
capital D, the less real it becomes." — 

"A large, glamorous and slick produc- 
tion . . . Happy ending ... is shocking 
evidence of the boxoffice mentality at 
work . . . Sometimes powerful, but gener- 
ally a lush, tear-stained product of the 
Hollywood steam roller." — PECK, N. Y. 

"Tantalizing combination of fascinating 
movie and other parts that are not so 
good . . . Has plenty of pretty good jam 
sessions . . . Tells most of its story well." 

"Has less resemblance to life than to a 
conventional show-business success story 
. . . Barely manages to stand up under a 
heavy load of excess baggage . . . Takes 
refuge in romantic cliches . . . Over-all 
pattern is irritatingly familiar." — 

"Pedestrian story . . . Overly-long and 
frequently stumbles over its eloquently 
meaningless dialogue . . . Yet . . . not 
without merit . . . Result is . . . consider- 
able good entertainment . . . despite the 

production's lack of balance . . . Sound-] 
track ... is the very soul of the picture."! 
- T.M.P., N. Y. TIMES. 



"Entertaining, polished, thoroughly) 
Hitchcockian, and good fun to boot . . ] 
without a meaningful story." — WIN- 

"Hitchcock not quite up to his old formj 
when it comes to the melodrama ... A 
most pleasant, if not too exciting, tale . . 1 
Keeps its suspense secondary to its sense 
of fun." — CREELMAN, N. Y. WORLE 

"A smooth and diverting film if not at 
fingernail-chewing one . . . Handled more 
in the manner of a polished conversation 
piece than a whodunit." — PELSWICK. 

"Very little sustained excitement or sus 
pense . . . Helter-skelter film . . . Dazzling 
ly stagy but it is far from frightening." — < 

"Complicated murder melodrama . . 
There is a laggard rhythm . . . which a 
corps of expert performers cannot over- 
come . . . Unfortunately, he (Hitchcock)' 
has let what should have been a taut melo- 
drama unravel." — BARNES, N. Y. HER 

"A rather sad reminder of the glory; 
that was Alfred Hitchcock's . . . Placic" 
murder mystery . . . Mostly a clean, well-' 
scrubbed glamorous, Hollywood-type mo - 
vie ... A mild afternoon with a murder. r 



"There hasn't yet been one from Hoi : 
lywood which co'uld compare in ruggec 
realism and punch to 'Twelve O'Clock, 
High,' a top-flight drama . . . Tremend- 
ously vivid fictional story . . . has con 
spicuous dramatic integrity, genuine 
emotional appeal and a sense of the- 
moods of an air base that absorb anc 
amuse the mind ... A hangup good pic i 
ture of aerial warfare and the rugged 
ness of men." CROWTHER, N. Y: 

"Drama of the men, not of battles . . 1 
One fault is the growing familiarity o>; 
the material. 'Command Decision' handl. 
ed it superbly a few months ago anc' 
now even that achievement has beer 
surpassed." — A.C., N.Y. WORLD TELE 

"Worthwhile motion picture reminde) 
of the war . . . Ties knots in the pit oa 
the stomach . . . Searches the spirit; I 
of Americans in desperate battle with £l 
clear, bright spotlight of film drama . . 
Snaps tight in the opening scene and inl 
creases the tension to the final breaking 
point . . . Tough, it seems to be honest 
and it is as absorbing as a four-alarrr 
fire." — GUERNSEY, N. Y. HERALE 

"20th Century-Fox can take justifiable 
pride in ... a magnificent picture or ! 
every count ... A realistic, convincing 
account that grips attention from begin 
ning to end ... A picture you won*! 
soon forget." PELSWICK, N. Y 


"This picture also has a couple o.l 
fresh slants ... A thriller that grabs m 
significant crisis point in the bombers 
air war to ballast its virile doings." - 




Behind the Scenes of Film Production 



AFTER several months of coasting 
along with a comparatively unimpres- 
sive production schedule, Columbia shifts 
into high gear this month, with its heavi- 
est program of top-budgeters in more 
than a year. In all, ten purported "A"- 
class features will be in front of the 
cameras between mid-March and the first 
Wi ek in April. In addition, two lower- 
budgeted pictures will go into produc- 
tion during the same period. 

Four of the high-budgeters kicked off 
early this month: "The Fuller Brush 
: Girl," "Prowl Car," "Freddie the Great," 
and "The Brave Bulls." The latter, to 
be filmed in Mexico, is a Robert Rossen 
production, and promises to be one of 
Columbia's biggest productions of the 

Remaining starters and the dates they 
will go before the cameras, are: "Last 
of the Buccaneers" and "The Ladv of 
the House," March 14; "Lefty Farrell," 
March 22; "Indian Territory," March 27; 
the long - awaited "Born Yesterday," 
March 28; "Lost Stage Valley," April 3, 
and "When You're Smiling," April 4. On 
the "B" schedule are: "Streets of Ghost 
Town," rolling in mid-March, and "Reve- 
nue Agent," April 4. 

But to most observers in Hollywood, 
one of the most encouraging signs on 
the Gower street lot, is the heavy line-up 
of productions that have been readied by 
William Dozier in the three months since 
he checked back into the studio. Dozier 
has no less than five productions ready 
to go as soon as casting can be ironed 
out and shooting schedules arranged. 

Eddie Buzzell has also gone back on 
the Columbia payroll, after a five months' 
absence. The director's new pact is a 
five-year deal. 

In short, there is every reason to be- 
lieve that 1950 may be one of the best 
for Columbia, and certainly vastly more 
important than 1949, when only two pro- 
ductions of consequence were turned out. 
If Harry Cohn will only loosen the reins 
and give some of his co-workers a free 
head, Columbia might very well move 
into the ranks of the majors. 




"THERE'S just one topic of conversation 
around Eagle-Lion these days, and 
that's "The Jackie Robinson Story." 
Judging from the enthusiasm being reg- 
istered by the ordinarily phlegmatic 
studio workers who more or less take 
any picture in stride, it would seem that 
E-L's first production in approximately 
a year, should be a b3ll-ringer. Indica- 
tive of this enthusiasm is the announce- 
ment that Harry M. Popkin has already 
booked the picture in his theater chain, 
although it is still shooting. Further- 
more, this department hears that Pop- 
kin paid the highest price he's ever 
offered for a film. 
Jack Schwarz gave further cause for 


The Limelight 

Hollywood's in-the-money screen 
stars should find considerable food 
for thought in a recent poll con- 
ducted by a fan magazine, which 
indicates, beyond a doubt, that a 
p'ayer must appear on the screen 
at least three times a year in order 
to mantain his fan following. Stars 
must stay in the limelight to live. 

During the past five or six years, 
one big star after another has 
suckered for the fallacy that it's 
foolish to make more than one pic- 
ture a year as long as Unc'.e Sam 
collects such big income taxes. 
Financially, from the short-range 
viewpoint, that belief may be true. 
The star who can command a wage 
of, say, $150,000 per picture, gets 
mighty little of his gross earnings 
if he makes a second, third or 
fourth picture in any given year. 
His net, from the first picture, may 
be sufficient for his needs and nine 
or ten months of leisure is very 

But the short-range viewpoint, 
unfortunately, is deceptive. There's 
reason to believe that many of the 
top-fiighters are going to pay a 
heavy price, in the long run, for 
the leisure they have won. The 
fans who would have been loyal to 
them for years, had they been will- 
ing to pitch in and work, are turn- 
ing to new idols. By refusing to 
make more than one picture a year, 
established stars have not only in- 
duced their own fans to forget 
them, th?y have also forced the 
studios to build up their rivals. 

Even in Hollywood it's difficult 
to have a cake and eat it, too. 

But the real scapegoats of their 
fallacious reasoning are the pro- 
ducers who meet their fabulous 
salary demands on their one-picture 
per year, and the exhibitors who 
are forced to pay higher rentals on 
these pictures, under the misappre- 
hension that the name is still box- 
office. Look back over your own 
play-dales of the pasl year and see 
how often yciu have been victimized. 

enthusiasm around the lot, with the 
launching of his program of 22 features 
and Westerns — all for E-L release — 
on March 7. "Narcotics Squad" was the 
kick-off feature on his program, and will 
bo followed late this month by "Unborn," 
an expose of the abortion racket. From 
that time on, Schwarz plans to keep a 
steady flow of productions before the 
cameras, with such interesting proper- 

M \ R C II l 3 , l 9 5 0 

ties as: "I Killed Geronimo" and four 
James Oliver Curwood action stories. 

William J. Heinemen during a visit to 
Hollywood to look in on the "Jackie 
Robinson Story," revealed that his com- 
pany will release 13 films during the 
first quarter of the calendar year. They 
are: "The Sundowners," "Guilty of 
Treason," "The Amazing Mr. Beecham," 
"Hit the Ice" (a re-issue), "The Great 
Rupert," "The Golden Gloves Story," 
"Boy From Indiana," "The Fighting 
Stallion," "Forbidden Jungle, "The Per- 
fect Woman," "Kind Hearts and Coro- 
ners," "The Cocktail Party" and "Kill 
Or Be Killed." 



Tl/|ETRO'S advertising and publicity de- 
partments have been ordered to roll 
up their sleeves and go all-out in selling 
the company's future product — both 
major productions and those of lesser 
importance. In the past, it has been the 
policy of the studio to concentrate on 
only those half-dozen or so pictures a 
year which, because of budgets, cast or 
story, out-rank the rest of the product. 

In short, company toppers seem to 
have finally come to the realization that 
every picture, in order to be a boxoffice 
success, requires proper salesmanship. 
One gimmick that is being discussed for 
carrying out the new order is that of 
commercial tie-ups, which has been 
largely ignored by the majors, but which 
has paid off so handsomely for some of 
the producers of Westerns. One needs 
only to look at the success of William 
Boyd's comeback as a television star, to 
realize the value of these tie-ups. De- 
spite the fact that television is still lim- 
ited to the metropolitan centers in this 
country, Boyd is a household word in 
every town and hamlet, due in no small 
degree to the lines of kid wearing ap- 
parel bearing his name. 

Metro is planning a similar tie-up on 
women's western garb, to plug "Annie 
Get Your Gun." Other pictures already 
slated for heavy ballyhoo are: "The 
Yellow Cab Man," "Nancy Goes to Rio," 
"The Duchess of Idaho," "The Father of 
the Bride," "The Reformer and the Red- 
head," "Outriders" and "Stars in My 

When other studios decide to buckle 
down and sell their product, instead of 
screarrvng at exhibitors about their lax- 
ity in properly exploiting the pictures 
they show, the boxoffice will pick up 
again. Watch the boxoffice receipts dur- 
ing 1950 and see if the up-coming Metro 
features don't top the list. 



ALTHOUGH there is still much to be 
desiied story-wise in most of the 
Monogram completed product, there are 
strong indications that the company is 


gaining stature and, in 1950, will make 
its strongest bid for wider recognition. 
Improved casting, greater quantity of 
product and a branching out into new 
types of film undertakings have all been 
evident here since the turn of the new 
year. From two to four pictures have 
been before the cameras at all times, 
with four new starters pegged for 
March. Already started this month are: 
"Joe Palooka in Humphrey Takes A 
Chance" and "Bomba and the Lost VoJ- 
cano." Today (March 13) Wallace Fox 
puts "Six Gun Mesa" before the cameras, 
and on March 20, William Broidy, who 
has just been promoted to a full-fledged 
producer, launches "Sideshow." 

In all, the company has canned nine 
pictures since the first of the year — a 
record unequalled by the company, for 
a comparable period, in many years. 
The nine newcomers to the company's 
backlog are: "Over the Border," "Killer 
Shark," "Square Dance Katy," "Guns 
Roar in Rockhill," "Mystery at the 
Burlesque," "Jiggs and Maggie Out 
West," "Henry Does It Again," "Young 
Daniel Boone," and "A Modern Marri- 
age." In the last-named Monogram pre- 
sents its first important message picture 
— a condemnation of divorce — and 
thereby gains new stature as a motion 
picture company. Although most folks 
will probably agree that Monogram is 
not suited to go into this type of movie- 
making on a heavy scale, it is nonetheless 
commendable that it is striving to ex- 
pand. And the recent boxofRce success 
of the better message-films could bode 
benefits to Monogram not only In pres- 
tige, but in dollars. 



J-JENRY GINSBERG and his associates 
have been wielding the hatchet here 
since the first of March, cutting down 
overhead to an absolute minimum before 
launching a production pick-up that will 
bring seven new features before the 
cameras between now and the first of 
July. Mass lay-offs have been in order 
for the past two weeks, with as many 
as 100 employees stricken from the pay- 
roll in a single day. As of this writing, 
still further personnel cuts are being 

In justice to Mr. Ginsberg, it must be 
pointed out, however, that most of the 
employees who have received pink slips 
are the ones who have failed to produce 
the maximum demanded by their jobs. 
Certainly, it does not herald a great im- 
pending slump at the studio as certain 
trade journals published here in Holly- 
wood, would have their readers believe. 

This much seems certain, however: 
top budgets on the 1950 product will be 
considerably below the average of $1,- 
600,000 expended on the company's out- 
put of 12 features last year. The gen- 
eral opinion seems to indicate that the 
average this year will much more likely 
run in the neighborhood of $1,200,000. 
This is based on establishing an economy 
level of a 25 per cent studio overhead. 

During this period of readjustment, 
production will, of necessity, be consider- 
ably slowed down, with the result that 
the major portion of the studio's produc- 
tion program will be held off until the 
last six months of the year. According 
to the best available information at this 
time, 12 features will roll between July 
and December, bringing the year's total 
to 19. 

In the company's favor during this 
period, is the strong backlog of 22 com- 
pleted Alms. By and large, it appears to 
this reporter that the backlog of un- 
released pictures is much more impres- 
sive than the current releas s, wun ciie 
exception of "Samson and Delilah" and 
"The Heiress" — both top quality films 
of which any company might justifiably 
be proud. 

After thoroughly surveying the situa- 
tion here, calmer heads in Hollywood 
seem to be agreed that the general out- 
look, instead of being gloomy — as the 
above mentioned trade papers would in- 
dicate — is actually encouraging. After 
all, the personnel cutbacks amounted to 
less than five percent, and tiiinned out a 
lot of deadwood the backlog is as strong 
as any the studio has had in several 
years, and the up-coming productions 
have the ingredients of good money- 
makers. To indicate otherwise is doing 
a grave injustice to Henry Ginsberg, one 
of the most brilliant business men in the 



J^EPUBLIC continues to be one of the 
bright spots on the Hollywood scene. 
Six new pictures were slated to roll this 
month, and the newly-released fiscal 
statement clearly paves the way for big- 
ger and better production plans for the 
remainder of the year. 

According to President Herbert Yates, 
his company's gross earnings during the 
fiscal year ending October 29, 1949, 
amounted to $1,413,762 — an increase of 
$836,567 over the previous year. After 
deductions of $602,184 in frozen foreign 
earnings and $325,000 in estimated fed- 
eral taxes, the company shows a net for 
1949 of $486,578. Republic has liquidated 
$2,700,000 in bank loans and has only 
$1,423,322 outstanding in loans on speci- 
fic productions. Furthermore, it should 
be pointed out that "Sands of Iwo Jima," 
which will undoubtedly be the company's 

greatest grosser of all time, did not go 
into release until the current fiscal year, 
which is just a little more than four 
months old. 

New pictures rolling on the valley lot 
this month are: "Covered Wagon Raid" 
(Alan "Rocky" Lane), "Phantom: Ruler," 
a 12-episode serial; "Sunset in the West," 
a Roy Rogers Trucolor oater; an untitled 
outdoor drama starring Vera Ralston; 
"The Golden Tide," a big-budgeter as- 
signed to associate producer - director 
Joseph Kane, and "Prisoners in Petti- 
coats," assigned to Lou Brock. 



goes to press, RKO executives are 
huddling over troublesome financial 
snarls growing out of the impending di- 
vorcement, due May 8. Nevertheless, 
Howard Hughes has just completed map- 
ping the heaviest production program 
since he took over the studio — a slate 
of 35 films to be turned out during 

While all of the present financial com- 
mitments with the banks in preparation 
for the split-up are in order, the studio 
has b~en unable to secure a new produc- 
tion loan agreement from the banks 
which hold current notes, according to 
reliable sources. Largely because of that, 
company toppers have appealed to the 
government for an extension of the di- 
vorcement deadline. 

More and more, Mr. Hughes is begin- 
ning to totally dominate the company. 
At an ejection held this month, two new 
directors — both sponsored by the mil- j 
lionaire producer — were named to the 
board of directors. They were: A. D. 
Simpson of Houston, Texas, vice-chair- 
man of the National Bank of Commerce, 
and Thomas A. Slack, vice-president and 
general counsel of the Hughes Tool 

The Howard Hawks - Edward Lasker 1 
deal, previously forecast, was signed 
this month, under terms of which the 
duo will make three pictures for RKO 
over the next two year period. Hawks 
will produce all three films, and direct 
two of them. 



HTHE full-steam-ahead production pro- 
gram which Darryl F. Zanuck ex- 
clusively forecast for FILM BULLETIN 
a couple of months ago, is just about to 
go into high gear, and right on schedule. 
Within the next two months, Zanuck will 
give the green light to eight top-budgeted 




films, and within two weeks from this 
writing, no less than five or six features 
will be shooting simultaneously. 

As Mr. Zanuck pointed out in his re- 
cent interview with FB, the past two 
months have been devoted to arranging 
starting dates so as to get the maximum 
efficiency from the studio's manpower, 
and thereby exercise the greatest econ- 
omy in production. Furthermore, he is 
making every effort to schedule produc- 
tions for fast release, in order to capital- 
ize on the topicality of many of the film 

Scheduled for starts this month are: 
"I'll Get By," a William Perlberg Techni- 
color production starring June Haver and 
William Lundigan; "Stella and the City 
Man," a Sol C. Siegel production starring 

'■■ Linda Darnell, and "All About Eve," to 
be produced by Joseph Mankiewick, and 
starring Anne Baxter. Tentatively set 
for April starts are: "Trumpet to the 
Morn," a Julian Blaustine production, 
with a cast headed by Cornel Wilde! 
Richard Basehart and Jean Peters; "Old 
880," to be produced by Casey Robinson, 
and starring Dorothy McGuire; "Mud- 
lark" (Irene Dunne), to be shot in Eng- 
land, with Nunnally Johnson producing 
and Jean Negulesco directing; "Ameri- 

■ can Guerilla in the Philippines" (Tyrone 
Power), and "The Halls of Montezuma," 
a Marine story to be directed by Lewis 



W IT H THE resignation of United Art- 
ists' production chief, George Bag- 
nall, this month, the company has insti- 
tuted a complete realignment of its pro- 
duction format, aimed at increasing its 
releasing slate. This would be accom- 
plished by arranging secondary financing 

i for independent producers who have 
"proven" themselves through past ef- 
forts. It is rumored in Hollywood that 
the long, drawn-out negotiations for UA 

. to arrange such financing, are now near- 
ing the signing stage. Such a set-up 
would also include assistance to the pro- 
ducers in satisfying the banks' strict re- 
quirements on unlimited guarantee of 
completion bonds. 

Bagnall's resignation was accompanied 
by virtual dissolution of the company's 
west coast office. All six representatives 
who have been stationed in Hollywood 
have severed their affiliation, and Selmer 
Chalif, who has been working on various 
UA production deals, is expected to oper- 
ate as a production liaison man, with all 
negotiations on new deals to be handled 
personally by Grad Sears. 

On the heels of the shake-up, Sears 
flew to Hollywood to personally take 

command, and is currently putting the 
finishing touches on a 20-picture program 
for 1950-51. The biggest contributors to 
the slate will be the Justman-Leserman- 
Loew combination and the Harry Popkin 



pRODUCTION-WISE, the studio is in the 
midst of one of its biggest splurges in 
many a month. With the rolling of three 
new films within the past two weeks, all 
of the sound stages were busy, with seven 
pictures shooting simultaneously. They 
are: "Louisa" (Ronald Reagan-Charles Co- 
burn-Ruth Hussey-Edmund Gwenn), "Ma 
and Pa Kettle Back Home" (Marjorie 
Main-Percy Kilbride), "Panther's Moon" 
(Marta Toren-Howard Duff), "Winchester 
73," (Shelley Winters-James Stewart), 
"The Milkman" (Donald O'Connor-Jimmy 
Durante), "Saddle Tramp" (Joel McCrea- 
Wanda Hendrix), and "Smuggler's Is- 

As a tip to exhibitors, make plans now 
to get an early booking on "Louisa." 
Seasoned critics who have seen some of 
the rushes are predicting it will be the 
top comedy of the year. Which all goes 
to prove, if U-I will only get good scripts, 
it can hold its own with any major in 

Jack Gross has returned to the U-I fold, 
where he once produced over 40 pictures 
under the old Universal banner. At the 
time of the surprise announcement, Gross 
was preparing two new productions for 
RKO, where he has been under contract 
for the past seven years. Under his new 
term ticket at U-I, Gross will produce 
only top-budgeted pictures. 

Another newcomer to the rapidly grow- 
ing list of U-I contractees is John Horton, 
former White House aide and special 
liaison officer in the Office of Public In- 
formation of the Department of Defense. 
He will serve as a special public relations 
representative for the company, with 
offices in Washington. 



y^S IN THE case of Paramount Studios, 
certain Hollywood trade papers have 
been prone to sensationalize in their re- 
porting of personnel cut-backs on the 
Warner Brothers payroll. In bold, scare 
headlines, one paper estimated lay-offs 
at 50 per cent of the total studio person- 
nel, and drew comparisons with the mass 
lay-offs leading up to the long, drawn- 
out production hiatus on the lot, a little 
more than a year ago. In reality, the 

cuts have been much lower than reported 
and the production picture, instead of be- 
ing a gloomy one, is quite the opposite. 
A source close to Jack Warner tells this 
department that production starts are all 
but set on 12 to 14 features for the next 
four-month period. 

On the other hand, a great many peo- 
ple in Hollywood find it hard to go along 
with Warner's reasoning on the cutbacks. 
According to a statement he issued a few 
days after the pink slips were passed out, 
the payroll paring is only temporary and 
"wisely" conceived for economy purposes. 
He contends that, although four pictures 
are shooting, it is a comparatively lull 
period, and therefore it is to the best in- 
terests of the company to effect these 

Certainly no one can deny that dead- 
wood should be weeded out of all of the 
studios, nor can there be any doubt that 
for reasons of economy it is often neces- 
sary for studios to make temporary lay- 
offs. But depriving loyal employees of 
their livelihood every time there's a slow- 
down, is no way to maintain the kind of 
morale a studio needs in order to oper- 
ate efficiently. 



Film Classics will increase its 
1950 distribution by at least 50 per- 
cent over 1949, in a strong bid for 
leadership in the independent re- 
leasing field. Fifteen pictures have 
already been scheduled for release 
in the new year, and numerous 
other deals are near the inking 
stage, whereas in 1949, there were 
only 12 releases by the company 
during the entire year. Of the 13 
already set, 10 were made outside 
this country, and three were made 
in New York. The announced re- 
leasing slate: Anson Bond's "The 
Vicious Years;" "The Wind Is My 
Lover" (Viveca Lindfors), English- 
speaking film made in Sweden; 
'Blackjack" (George Sanders), di- 
rected by Julien Duvivier on the Is- 
land of Majorca; "Rapture," a Gold- 
redge production; "Good Time Girl," 
a Sydney Box production; "Tsee- 
Tsee," filmed in the Congo; "It Hap- 
pened In France;" "Pirates of Cap- 
ri; ' "Guilty Bystander;" "Four 
Days Leave," and "Cry Murder." 
Soon to be filmed for FC release 
are: "East is East," "St. Benny, the 
Dip," "A Game of Cards" and 


Lloyd Bridges and Hugh OBrian 
have snagged the top roles in the 
science-fiction yarn, "None Came 
Back," announced here in a recent 
issue. The plot concerns a scienti- 
fic exploration to the moon on a 
rocket ship. In a race to get the 
picture completed and into release 
ahead of George Pal's "Destination 
Moon," which deals with the sub- 
ject, Lippert has already rushed the 
property into production on location 
in Death Valley. 

MARCH 13, 1950 



Vkfiiiiri!, Theme, Contest Add Incentive 


The Fledgling Is Inducted Into the Suffering Circle 

A TITLE, a story, a star, a novel and. by way of special incentive, a contest, 

all combine to make "Mother Didn't Tell Me" top-drawer exploitation fare 
for theatremcn. First off, be it known that this 20th Century-Fox comedy- 
drama is a film that no exhibitor should have qualms about showing in his 
theatre. It's funny and fast, heartwarming and suitable for the entire family. 
If he goes all-out in his exploitation campaign, he can look forward not only 
to boxoffice gratification, but to audience satisfaction as well. 

No. 1 gun in his ballyhoo barrage is the title. The tie-ups, displays, 
stunts, co-op ads, contests and all the other promotions that can be built 
around this provocative label has been explored most comprehensively by the 
press book, and some of the suggestions are listed in greater detail in the next 
column. Suffice it to say that there is a wealth of material that can he put to 
wonderful use if the showman gives the title a real workout in his campaign. 

The story, while it has many of the earmarks of "Claudia", the film which 
brought Dorothy McGuire screen fame, adds an extra fillip in the basic 
premise, what a doctor s wife must endure and how a young girl adjusts her- 
self to the grievances inherent in the task. With Miss McGuire again in the 
type of role she plays so engagingly, here is an angle which must not be over- 
looked in the picture s promotion. 

And, finally, 20th-Fox adds a special payoff for some 134 exhibitors who 
give "Mother Didn't Tell Me"' a sock selling campaign, with a $7500 contest 
that offers prizes beginning with a $500 U. S. Savings Bond or an all-expense 
paid, two - week vacation trip at the swank Lake Tarleton Club in New 

I Every Youncf^Wncnjn 'and Mian; ShouM Know ' 

1 c* Mo 1 




How the title can be used for department store 
tie-up.-, window displays, full-pag < co-op ads, news- 
paper essay conte-ls. school promotions, limerick 
contests, special lobby displays, inquiring reporter 
stunts and str et hally'hoos is detailed in the press- 1 
hook, which has an unusually la:g ■ exploitation' 

Department stores can be enlisted on s veraM 
fronts. In windows, th • title can he featured in all 
sorts of wearing apparel, cosmetics, jewelry, candy, 
etc. As an ad. < ither for department stores or indi'. 
vidua! shops on a co-op basis, a full-page layout) 
for a "Mother Didn't Tell Me" sale would li n-1 
department or store in with the t tie in the indi 
vidua] sections of the ad under a heading 
"OH-h-h-h MOTHER!" Miss McGuire's costume* 
are particularly handsome and would I nd them 
selves beautifully to fashion ads and displays. 

Walking advertisements are also sugg sled in the 
form of hoys and girls wearing T-Sbirts with the 
title st nciled on. Gel about tun-dozen of these 
and distribute them to youngsters from variocfl 
schools and ask them to wear theso to school foi 
ten days prior to opening and gel signatures on the 
shirts from their schoolmates. A local store migh 
be promoted to supply the shirts or even to ban 
a special sale on them. Instead of signatures, per 
haps the most clever follow-up lines to the title 
would he good for fr. e passes to the theatre. 

A teefri-age essay contest can be fashioned on uW 
litl? in cooperation with your local newspaper' 
Some possible topics for the essays: ''What 
learned the hard way that my mother should hav" 
told me;" "What mother didn't tell me that I coulc 1 
tell my mother;" "What should mothers tell thei 
children about intolerance?", etc. Th? committe' 
of judges should consist of a high school principal 
a prominent local child psychologist and a membe 
of the local School Board, with possibly a Saving 
Bond or p - riod passes as prizes. 

Another good contest based on what "Mothe 
Didn't Tell Me" is a limerick competition, eith'. 
in the newspaper, or passed out in th" lobby up t 
a week before playdate. Six suggested limerick 
with the last line blank are outlin ~d in the pres 


As a pair of good teaser displays for your lohb) 
it is suggested that a large blow-up of a head phot • 
of Miss McGuir- be used with the lettering: 'Ca 
You Guess What Mother Didn't Tell Her?" and/o 
a peep-box with a sign reading: "What Did Mothe: 
Tell H r? Ses the Answer Inside!" Within tb 
box, use a still of Miss McGuire and William Lun< 
igan and their screen twins, w ith the caption, ' ) 
we could tell you. w-> would. But see Doroth 
McGuire and William Lundigan here next week i, 
'Mother Didn't T 11 Me', the picture with all tb! 
answers. You'll love it!" 


The S7500 showmanship contest for the best caci 
paigns on "Motli r Didn't Tell Me" gives an exti 
bonus to theatremen for making the picture pay ol 
Any manager and/or ad manager of a theatre I 
the U. S. or Canada who plays the picture betwee 
Feb. 24 and May 7 is eligible to win 134 priaj 
ranging from a $500 Savings Bond to 50 §25 Bond 
All entries must be postmarked on or before Mi 
21, 1950. 

Judging will be based on b st and most pr 
duetive ad-exploitation-publicity campaigns for tl 
film and consideration will be given to nature 
run, class of house, location and business produce 
in order to permit equal competition betwei 
small town houses, neighborhood and downtov 


The teaser quality of the title predominates 
all of the ads, some of which are shown at l l 


The lovely and capable Doro- 
thy McGuire returns to the 
type of role that enabled her 
to make such a notable debut 
on the screen, the "Claudia" 
films. Once again, she is the 
lovable girl - wife, this time 
faced with the responsibilitv of 
being a doctor's wife - the 
disappointments, the sudden 
break-up of social affairs, the 
uncertainty of a night's sleep. 
On top of this, her marital 
problems are heightened by an 
unsympathetic mother - in - law 
and a young and beautiful as- 
sociate doctor in her husband's 
office, both of whom deliberate- 
ly set out to break up her mar- 
riage. The humorous aspects 
of the situation are brought in 
consistently so that, essentially, 
this is a comedy with serious 
overtones. Some scenes are de- 
lightfully pointed, interpolat- 
ing the doctor's indifference to 
vital (to the patient) ills, to 
the woes of pregnancy (except 
when he is the father) and 
jealousy of his wife while de- 
riding any suggestion that he 
might take more than a purely 
impersonal interest in either 
his patients or his female 

With Miss McGuire in her 
element and William Lundigan, 
fresh from his success in 
'"Pinky", as her doctor-husband, 
the stars are neatly cast. Just 
as ideal is the high-powered 
supporting cast. June Havoc 
as another doctor's wife has a 
snappy and sympathetic role; 
a top-flight actress from Broad- 
way, Jessie Royce Landis, gets 
the plum ,-ole of the mother- 
in-law, and a newcomer, Joyce 
Mckenzie, makes an attractive 
and venomous female medico. 
Brief but hilarious is the char- 
acter played by Leif Erickson, 
a psychiatrist, who plies wom- 
en with tricks of his trade on 
a perpetual wolf-hunt. 

At right, Dorothy Mc- 
Guire gurgles happily at 
the prospect of meeting 
the handsome, young doc- 
tor, William Lundigan, as 
she feigns illness. 


of the issue 

Showman sh ip ion iV»# * ce 

(Continued jr?m Page 7) 

hesion among distributors to avoid the 
release of too many pictures of the same 
type at the same time. 

To survive and prosper, Fabian offered 
several proposals to the Conference: 

—Put your theatres in apple-pie order. 

— Urge Hollywood to continually im- 
prove product. 

— More intensive pre-selling of pictures 
by the distributors. 

— Greater use of television trailers. 

AT THE OPEN FORUM session on 
Thursday, moderator Mitchell Wolf- 
son of Florida's Wometco circuit, as- 
sured the guests that all would be 
privileged to speak their minds. 

First to take the floor was Emil Bern- 
stecker, of the Wilby Circuit, who spoke 
of his organization's plans to bring in 
new blood to carry forward the ideas 
already tested by the circuit's veteran 

Fred Souttar. Fox Midwest, discussed 
means of previewing audience reaction 
to exploitation campaigns, the import- 
ance of developing juvenile trade and 
the production of special "studio trailers" 
that s3ll several forthcoming pictures at 
one time. 

Oscar Brotman, Chicago independent, 
recommended that movies be sold for 
their therapeutic values. He pointed out 
the public might be convinced that films 
are good for their health through the 
relaxation they afford. He rapped the 
Hollywood columnists who are "para- 
sites" on the industry body. 

■p\AVID IDZAL, managing director of 
the Fox, Detroit, struck out at those 
within the industry who "tell the public 
our pictures stink." He called on those 
who lack faith in the business to "get 
the hell out!" 

Louis Schine recommended a return to 
"old - fashioned circus showmanship," 
while Seymour Morris, publicity direc- 
tor of the Schine Chain, warned that the 
industry is being damaged by "notori- 
ously bad press agentry" emanating from 
Hollywood. He suggested that the John- 
ston office hold a press agents' meeting 
on the West Coast to correct this 

Tom James, St. Louis exhibitor, advo- 
cated shorter features, a series of three- 
or four-reel comedies, and more family 
life stories. 

Harry Brandt delved into certain 
phases of trade practices, among them 
the advisability of selling larger groups 
of pictures which have been completed 
and tradeshown. This, he said, would 
enable exhibitors to sell their future 
shows sufficiently in advance. The New 
York circuit operator expressed the view 
that "We have gone too far in selling 
individual pictures; we must sell 


President Skouras had high praise 
for the 20th-Fox staff members who 
handled the arrangements for the 
showmanship meeting. He intro- 
duced Abe Goodman, Sam Shain, 
Ira Tulipan, William Bentley, all of 
the home office, force, and Ed Solo- 
mon and Jack Conway, Chicago 
Held men for 20th-Fox. 

As each man took a how, he re- 
ceived a rousing ovation from the 
assembled showmen, who seemed 
unanimous in their agreement that 
it was the most competently staged 
affair of its kind they ever attended. 

Among the industry leaders at the 20th-t'ox Showmanship Meeting, from left: Samw.i Pmanski, 
Andy ff . Smith. Jr.. Eric Johnston. Trneman Rembusch and Spyros P. Skouras. 


The following regional showman- 
ship meetings have been definitely 
set by 20th Century-Fox sales offi- 
cials. On March 21: St. Louis. Chase 
Hotel; Washington, Washington Ho- 
tel.; Cleveland, Statler Hotel; Des 
Moines. Standard Club; Indianapolis. 
Antlers Hotel; Memphis, Peabody 
Hotel; Philadelphia, Benjamin 
Franklin Hotel. 

March 23rd meetings will be held 
in Pittsburgh, William Penn Hotel; 
New Haven, Taft Hotel; Minneapo- 
lis, Radisson Hotel; Charlotte, no 
site announced. 

Kansas City will hold its meeting 
on March 22nd at the Continental 

V/f A. LIGHTMAN, JR., Malco, Mem- 
* phis evinced his belief that box- 
offices could be hypoed by sneak pre- 
views of good pictures to set off favor- 
able word - of - mouth well before the 
picture goes into first-run. He suggested 
that the sneak preview prints be sup- 
plied by the distributors without charge 
to theatres. 

Harry Vinnicof, Los Angeles circuit 
operator, urged greater courtesy to and 
comforts for theatre patrons. 

M. M. Mesher, Portland, Ore., stressed 
the need for favorable public relations 
to fight unfair taxation, both Federal and 

Myron Blank, Des Moines, revealed how 
his Paramount-Blank circuit's public in- 
formation campaign last year corrected 
false and damaging impressions created 
by bad propaganda from Hollywood. The 
campaign included a speaking tour, not 
only by Blank and other circuit executives, 
but by municipal opinion molders who 
were persuaded to assist in the campaign. 

Robert J. O'Donnell, noting that Texas 
theatres felt drop-offs in grosses less and 
later than most other territories, said that 
the meeting had completely wiped away 
(he "smug" complacency he had felt about 

/^ENTURY CIRCUIT'S Fred Schwartz 
^ disagreed with the thesis of one na- 
tional exhibitor organization to handle 
falling receipts. 

trade practices. He also felt that the 
much-publicized Phonevision, (TV over 
wires into the home on a paying subscrip- 
tion basis) was not a threat to theatres 
because of its handicaps, such as illegi- 
timate "unscrambling" of the image, boot- 
leg reception, etc. He also warned the 
producers that they would have to deal 
with a small and powerful group if they 
supplied films for Phonevision. 

Gael Sullivan, TOA executive director, 
discussing the fight on the Federal ad- 
missions tax, warned that theatremen 
must quell Congressional fears that in 
eliminating the Federal tax, it would mere- 
ly mean transferring the prerogative to 
the State and local governments. 

A/JAX A. COHEN, Cinema Circuit, N. Y., 
*■ * authored a wire, unanimously backed 
by the assembled exhibitors, to Secretary 
of the Treasury John W. Snyder, calling 
upon his support to repeal the Federal 
admissions tax. He argued that a greater 
number of theatre patrons would then be 
available for solicitation by theatres in 
the forthcoming U. S. Savings Bond cam- 

Walter Reade, Jr., New York, called for 
young blood in theatre operation, particu- 
larly in the showmanship phase. The cir- 
cuitman urged more Hollywood star junk- 
ets to small towns. 

Oscar Doob, head of Loew's Theatres, 
N. Y., pledged the circuit's all-out effort 
in reviving industry showmanship. 

The close of the meeting came with the 
presentation to Mr. Skouras of a testimon- 
ial scroll signed by all the guests at the 
conference and with a stirring standing 
tribute to the 20th Century-Fox president. 

News A Opinion 

(Continued from Page 17) 

Burstyn charged that the PCA ban 
was part of an effort to "sabotage' 
foreign films in this country, an accusa 
tion which Breen promptly labeled "ut- 
terly false." The PCA administrator de 
clared that only the "moral content" oi 
pictures influences its decisions, which are 
based solely on the provisions of the Code 
adopted in 1930 to "assure decency aw 
good taste" in films. 




inioni (buffed from Organization $3ut(elini 


Allied of Iowa - Nebraska 
About Theatre Budgets o,r the Atom- 
izing of the Boxoffice Dollar. There have 
been a number of tables published h3re 
lately showing the different author's ideas 
about the breakdown of the boxoffice dol- 
lar in theatre operation. We have but 
one basic argument with all of them — 
the small amount left for profit, when 
applied to the vast majority of our Iowa 
and Nebraska theatres which are small, 
individually operated propositions, with 
limited grossing possibilities. Obviously, 
if these small exhibitors attempted to 
live on b to 15 per cent of their $100 to 
$500 weekly grosses they better dig 
ditches or clerk in a store, without in- 
vestment and no worries except how to 
do less work. Let it be said that of course 

| we understand the overhead of circuits 
and larger operations provide in their 
salary and administration columns sub- 
stantial salaries for their executives and 
managers, and the net profit remaining 
is treated as return from the investment. 
Few if any of the small exhibitors do 
this, depending on the net profit to com- 
pensate them for their time and efforts. 
We print below 4 of these breakdowns 

: of the boxoffice dollar. The first is that 
of the Interboro Circuit in New York, 
operating 37 theatres; the second is that 
devised as an average of all sizes and 
types of theatres by Allied of Indiana; 
the other two are unidentified. Look 
these over and compare them with your 

theatre operation: 

Film Rental 
















_ 7 


Heat, Light 












_ 4 





_ 3 







Miscellaneous _ 

I 4 








Net Profit 

_ 6% 




All percentages are based on the thea- 
tre gross, after admission and other 
taxes such as sales taxes. 

It is quite obvious that these are 
breakdowns of high grossing theatres, 
and just as plain that good salaries are 
provided for the management and execu- 
tives before net profit is arrived at. The 
moral we may draw from this is that 
every exhibitor must determine his ex- 
act overhead (send to Anamosa for our 
Theatre Overhead Form if you haven't 
one) and, include in his salaries and ad- 

i ministration a fair and decent salary for 
himself. Your time is worth money; 

'John L. Lewis' miners get $14.05 per day 
with no investment. When you have 
done this, then you can treat your thea- 
tre as an investment, and the net profit 
has a return on that investment, just like 
any other business. The amount of net 
profit will, of course, depend on the neces- 
sary overhead, and, the theatre gross. 
* * * 


Theatre Owners of America 

Reports from various sections of the 
country indicate an alarming growth of 
rackets and other illegal promotions built 
around Hollywood and motion picture 
production which are damaging to the 


MARCH 13, 1950 

entire motion picture industry. You are, 
therefore, requested to advise your mem- 
bers to be on the lookout for the develop- 
ment of these rackets within their ter- 
ritories and to inform Art Arthur, Exec- 
utive Secretary of the Motion Picture 
Industry Council in Los Angeles, of any 
such operations of doubtful legality, so 
that they may be brought to the atten- 
tion of the proper law enforcement au- 

The special point to be made is that if 
exhibitors have any reason to be sus- 
picious of people showing up in their 
towns or cities and claiming Hollywood 
identities, they need only get in touch 
with Mr. Arthur for accurate identifica- 
tion, and any available information on 
their credit standing. 

If there is a racket angle, the Motion 
Picture Industry Council can relay to 
the exhibitor, or to the local authorities 
suggested by the exhibitor, the whole 
pattern of action on legislation, etc., de- 
veloped in connection with law enforce- 
ment agencies in Los Angeles to drive 
the crooks out of business and into jails 
where they belong. 

State, county, city and Federal agen- 
cies in Hollywood recently moved to halt 
operations of seven of Hollywood's tele- 
vision talent agencies, who, they claim, 
have been mulcting; clients of an esti- 
mated $20 000 weekly. Much of the evi- 
dence in this case was turned over to the 
authorities by reputable industry organi- 

Whenever shady promoters are driven 
out of one town, or disappear when then- 
operations come under official scrutiny, 
they invariably turn up in another to re- 
sume their nefarious trade, unless they 
are apprehended and sent to jail. The 
publicity which accompanies their opera- 
tions reflects on the entire industry, and 
it is therefore essential that every ex- 
hibitor exercise constant vigilance and 
promptly report all such operations with- 
in his territory. 

Exhibitors also should thoroughly in- 
vestigate any promotions involving tal- 
ent schools, dancing schools, and contests 
for screen tests, ome of them involving 
free trips to Hollywood, etc., before par- 
ticipating in any such activities. 


Allied of Iowa - Nebraska 

1950 should become known as the 
Showmanship Year in our business, for 
to hold our own against TV and the 1001 
activities competing for the public's di- 
minishing entertainment dollar, we are 
going to have to put really effective ef- 
fort behind the selling of our theatres 
and our pictures. The first thine; is the 
"facelifting", the renovation, painting, 
remodeling if necessary, making more 
inviting; and comfortable the theatre it- 
self. Don't expect your public to get 
very enthused about it if vour theatre 
is dingy, uncomfortable and uninviting. 
Be sure vour equipment is in good repair 
and usable shape. New chairs, carpets, 
decorations; a new screen does wonders 
for a theatre! Change your lobby around 
if possible, and your display frames; 
make your popcorn machine and candv 
counter more attractive. New drapes for 
the boxoffice. Next, rear back and take 
a look at yourself and your theatre staff 
— -well, mavbe there isn't much you can 
do about that! A few new clothes, a bit 
neater appearance down the line. But 

that wasn't what I really meant. How 
do you and your staff treat your public? 
With utter boredom and dislike? Let's 
hope not; but many do! Get smiles on 
every face in your staff, including your 
own, even if you have to employ facial 
surgery, and keep them there! A smil- 
ing face is like a good mirror— everyone 
smiles back; and if they smile in the 
theatre, they'll be back. Treat your pub- 
lic just like you loved them, even to the 
dirty little urchins who squirm and run 
all over the place If you don't then don't 
get sore at them because they drive out 
to the nearest drive-in! 

* * * 


ATO of Indiana 

On Tuesday RKO proclaimed via dou- 
ble page spreads in the daily trade 
papers that the cash customers were 
saying they wanted to see "StromboU 
at "crowded theatres all over America' . 
But on Wednesday those trade papers 
reported business on the picture as 
"mild'. Reports to the Motion Picture 
Daily said "the bottom fell out" in a 
number of situations and questioned 
whether or not the picture would run 
full contract time in all circuits. Ac- 
cording to Film Daily, "Stromboli 
proved a one-day wonder. The Broadway 
engagement at the Criterion Theatre 
started with a smash day but fell off so 
rapidly that it was estimated that the 
first week business would be 33% under 
the second week of "Man On the Eiffel 
Tower", the previous booking at the Cri- 
terion. Our New Jersey correspondent 
advises us that all "Stromboli" will get 
is the one week on Broadway. Observa- 
tion in Indianapolis and Columbus, Ohio, 
indicates that the picture will fall 25% 
below average business. 

RKO in condoling the Mitchum antics 
set up the stage for the "Stromboli" fias- 
co. RKO figured that "Joan of Arc" was 
good for two and a half million profit 
at regular admissions. That a reissue of 
"Bells of St. Mary" would garner an- 
other two million into the profit till. As 
it now appears, neither one of these pic- 
tures, due to Bergman's presence, has 
a ghost of a chance. So four million and 
a half went out the RKO profit window. 
This should give RKO pause for thought 
and in the future they should be more 
amenable toward disciplining errant 


ATO of Iowa - Nebraska 
Nasty little clearance circles between 
towns are still in existence in some parts 
of this Iowa-Nebraska territory, nurtured 
and kept alive by greedy exhibitors and 
distributors who can get an extra few 
bucks rental or percentage from the ta- 
vored theatres, because of the clearance. 
Of course we have all heard the old one 
that "clearance is fine if you have it over 
the other fellow; hell if he has ii over 
you." But we also read the law thai 
says such clearance now between towns 
is illegal. The wise distributor will 
cease forthwith such sales policies, and 
the smart exhibitor in such situations will 
cease demanding more than an equal split 
of any product, because we are going to 
see that such clearances are eliminated 
according to the law, even if someone 
has to go to jail over it. That's a prom- 





In the Release Chart, the date under "Details" refers to the 
issue in which cast, director, plot, etc., appeared. "Rel." 
is the national release date. "No." is the release number. 
"Rev." is the issue in which the review appeared. There 
may be variations in the running time in States where there 
is censorship. All new productions are on 1946-47 programs 
unless otherwise noted. (T) immediately following title 
and running time denotes Technicolor production, (C) 
denotes Cinecolor. 

1943-43 Features 

Completed (38) In Production (0) 



COMPLETED 1949-50 

Title — Running Time Cast Details Rel. 

Alice In Wonderland (A) .Marsh-Murray ForelQn . . . . Feb . 

Amazing Mr. Beecham (85) Parkcr-MatihcW) Foreign Feb 

Boy From Indiana Mc^ll ster-Butler 11-7 Mar 


Cowboy and the Prizefighter Bannon-Nova Dec... 956... 

1949-50 Features 

Completed (51) 
Completed ( 2) 
Completed (10) 

In Production (2) 
In Production (0) 
In Production (0) 




Drama — S':arted Feb. 21 

Cast: Mark Stevens, Edmond O'Brien, Gale Storm, Donald Buka 
Director; Gordon Douglas Producer: Hunt Stromberg 

Story: Police yarn laid against a Los Angeles background. 


COMPLETED . 1949-50 

Title — Running Time Cast Details 

Adventures of Sir Gal: had. The Rcevcs-Leigh 5-9 

A'l the King's Men (109) Crawlord-Drj 12-6 

And Baby IKa'<es Three (84) Youn^-Hale 5-23 

Details linger title: Baty Is Here 

Barbary P rate (65) Wood-Sc' nabel 3-28 11-49 

Bandits of El Dorado Starrett fi-6 

Beauty On Parade Huttcn-Warrick 11-7 

Behind This Mask Bogart-Grahame 11-7 

Details under title: In a Lo:tl; Pace 
Beware of Blondie Single'on-Lake 8-29. 

. Forci n 

Deadfall (T) Barrymore, Jr.-Mil er 

Destination Moon (T) Anderson-Archer 

Figiiting Stallion (62) Edwards-Merrick 

Forbidden Jungle harvcy-Taylor .... 

Gay Lady, The (T) Ktnt-Donald 

Golden Gloves Story, The Dunn-Westerf?.l| 

Great Rupert (86) Duran e-Moors .... 

Guilty of Treason (86) Bickfo d-Granvi h 

Hidden Room, The C8> Newton-Gray 

Hit The Ice (81) Atbitt-Co tello 

I'll Be Seeing Ycu Rogers-Cotten 

In'ermerro 1 70) .. . Bergman-Howard 

J?ck'e Robinson S ory, The Robinson-Dec 

Never Fear Forrest— Brassellc Jan.. 

Passport to Pimlco Ruthcrford-Holloway ..Foreign 010 . 

Pe.-fccl Wcmin (87) Roc-Hoi oyay Foreign . . .Apr 015 

Port of New York Brady-Stevens Dec. . 009 

Rebecca (SRO) Fontaine-Olivier Reissue ... July 

Salt to the Devil Wanamak"r-Padovani Jan. 


. Reissue . 
. Reissue 














12 49 12-5 

Sarumba Dowling-Whalcn Jan. 

Sun Sets at Dawn. The Parr-Shawn 2-27 

S.indowners, The (T) (83) Prcs oi-Co vns Feb. 

Third Man, The Cot en-Valli 

Timtcr Fury Bruct-Lynne 2-27 






10-24 . 
. 5-22 
. 3-28 

12-49 1-2 



. 12-29 


Beyo-d the Purple Ki Is Autry-Denn'sin 

Hiring Trail Stirrett-Burnette 

Blondie Hits (he Jackpot (£6) Sing eto^-Lake 

Bcdyho!d Pa'ker-AIVi-ht . ... 

Cargo to Capetown Crawford-Ireland-Drew 

Congo Bill Mc r 

Japtive Girl vVeismuler-Crabtc 

Cow Town Autry-Davis 

Cowboy and the Indians, The Autry-Ryan 

Custom's A-ent Fyt e-Pe nnlJs 12-'"*. 

David Harding, Counter Spy Parker-Long 1-30 

Devil's Henchrren. The (69) Baxter-Con.erse 11-8 

Father Is A Bachelor Hnlden-frav 9-12. 

Feudin' Rhythm (66) Arno'd-Herrv 7-1*. 

Fircfioh'e-s, The w iTa"s-Rcvncl1s 2-27 

Fx'-'unes of Cartain Blood Hyward-Med'na ...11-21. 

Frontier Outpost Starrett— Burnet e 

Girl's School Reyml << -Hall 7-4 

Good Humor Man Carson-Wallace 6-6 

Her Woiderf I Lie . . . . Kiepixa-Er g*-th 11-10 

Details under title: The Etern»' ,vlel"dy 

Hoe Down .... Arno'd-O'Mal-oney 7-4 

Holiday in Havana A—ar-Hatcher . . 12-20 

Horsemen of the Sierra (56) S'arrett-Burnctt ..... 3-28 

Jolson Slnqs Again (T) (96) Park<-Hal» 1J-22 10 1 D 

Kill the Umpire Bendix-Henry 10-24 

Killer That Stalked New York, The Keyes-KoTrin 12-5 

Lost One. The (82) Corradl-Matt'-ra .... Foreign . 

Lost Tribe. The Weissnvl!er-rie|| .... 9-27 

Mark of the florilla Weismullr r-Marshall . 9-26 

Mary Ryan. De'ective Hunt-Phillips 7-4 

Military Academy Clements-Tyler 10-24 

Miss Grant Takes Richmond (87) Bal-Holden 3-28 10-49 10-10 

Mr. Soft Touch (S3) Ford-'<eyes 8-30. . .9-41 J2-5 

Mule Train Randall-Vincent 8-30... 8-49 

Nevadan, The Courtland-Tyler 8-1 

No Sad Songs Fcr Me aiillivan -Corey 10-24 

One Way Out f o-d-r,rawford 1-2 

Outcast of Elack Mesa Starrett-Burnett 11-7 

Palomino Autry-Rym 11-21 

Pe ty Girl. The (T) Cummings-Caulflrld ... 9-26 

Prison Warden Ba v ter-Lee 5-9. 

Reckless Moment (82) Mason-Bennett 3-28 

Renegades of the Sage (56) Starrett-Burnette . ... 8-29 

Riders in the Sky Autry-Henry 8-29 

Details under title: Beyond the P:irple Hills 
Riders of the Whist'ing Pines Autry-Whlte 7-5. 

De'alls under title: Wlng> Westwa'0 

Rogues of Sherwood Forest (T) Derrick-Lynn 9-12. 

Rusty's Birthday (60) Domldson-Litel 2-28 

Smnky Mountain Melody (51) Aciiff-Williams 

Sons of New Mexico «i'try-Da»,: 7-4 

Tell It to the Judqe (87) Hussell-Cummings 4-25 

Details under title: My Next Husbanc 

Texas Dynamo Starrett-Burnttt 2-27 

Tokyo Joe (88) Bogart-Marly 1-17 

Trail of the Rustlers Starrett-Burntte 10-10 

Traveling Saleswoman Dav's-Dtvine 8-29 

Tyrant of the Sea Williams-Randall 8-29 

Woman of Distinction Russcll-Mllland 8-1. 


Black Book, The (89) Cummings-Dahl 

Details under title: Reign of Terror 

Once Upon a Dream (87) W t' ers-Jones Foreign 

Place of One's Own (94) Mason-Lo.kwood Foreign 

Prizefighter and the Cowboy, The (C) ... Bannon-Nova 9-12 

Ranpage Mitch M-Lnno 12-22. 

Story of G.I. Joe Meredi'h-Mitchum . . . Reissue 

Tomorrow Ynu Die Irrland-Rvan 5-12 

Trapped (78) Brirjges-Hoyt 7-4 

Weaker Sex (85) Parker-Jeans Foreign 

Woman in the Hall (93) Jeans-S mmons Foreign 

Zamba (75) Hall-Vincent 

.9-13 . Aug 




Sept. . 

. 006 . 

Oct. . 


.1 il 

Sept. . 

. .914. 

. Aug . 

. 960 . 

Sept. . 

. 004 . 




Ti le — Running Time 

•C'-Man (75) 

Cry Murder (94) 

■ 1949-50 

Cast Details Rel. No. I ( 
Jagger-Carradine ? 

Math;w;-Lord 1 

Daughter of the West (C) (77) Vickers-Reed 9-27. ..2-15 f 

Flyhg Sajce,- Conrad-Garrison 

Fo>r Days Lerve Wih'e-Day 

Frustration (?0) Lowenadler-Fridh ....Foreign I 

Good Time Girl Kent-Robson Foreign I 

Guilty B stancler Sco t-Eme son 9-12 .J> 

Inner Sa etim (62) Hughe -Rrssell 7-19. . .9-48 iP 

Lost Boundaries (97) Pearson-Ferrer ■ 

Lovable Cheat. The (77) tuggles-Garner 1-31... 4-15 H 

Not Wanted (91) Forrest-Braselle 3-14 ■ 

Plra'es of Capri (94) Hayward-Barnes 

Pro'ect 'rX" (60) Colton-Andes 10-7 .W 

Rapture Langan-Albin 

Search for Danger (63) Calvert-Dell 1-3 4-8 

Vie ojs Years Coek-Mcrritt 

Wind Is My Lover, The Lindfos-Kent 


11- 49 

12- 16 

1948 49 Features 


Completed (36) In Production (2 



12-49 1-2 

11-49 11-21 


Drama — Slarted Feb. 22 

Cast: Qsa Massen, Hugh O'Brien, John Emery 
Director: Kurt Neumann Producer 

Story: Not available. 


Drama -Started Feb. 22 

Cast: Don Castle, Jane Nigh, Gwenn O'Connor 

Director: Sam Newfield Producer: Barney SarM 

Story: Not available. 


11- 21 
. 8-15 
. 7-18 

12- 19 


COMPLETED - 1949-50 

Title — Running Time Cist Details 

Apache Chief (60) Curtis-Neal 

Arson. Inc. (60) lowery-Gwynne 3-28. 

Baron of Arizona. The Price-Drew 11-21. 

Call of the Forest Lowery-Curtis 

Colorado Ranger Fllison-Hayden 

Crooked River Elli on-Hayden 

Dalton Gang. The (59) Barry-Lowery 

Deputy Marshal (73) Langford-Hall . 

Everybody's Dancin' Coo ey- Jackson 

Fast on the Draw Ellison-Hayden 1-2 

Grand Canyon (65) Arlen-Hughes 5-23 

Hollywood Varieties Alda-Hoosier Holshots 

Hostile Country Elli'on-Hayden 12-5 

Marshal of Heldorado Ell:s' n-Hayden 

Operation Hasl ft Brown-Haydcn . 1-16 

Radar Secret Service Howard-Jergrns 

M Desert Barry-Holt 8-15 

Ringside (62) Barry-Erown 4-25 

Skyliner (61) Travis-Blake 5-9. 

Square Dance Jubilee Thurston-Hicks 

There Is No Escape (63) Barry-Hughes 8-15. 

Tough Assignment Barry-ste le 

Treasure of Monte Cristo (78) Langan-Jergens 6-6 

West of Brazos tlli on-H;yden 12-19 

Western Pacific Agent Tailor-fyan 1-2.. 


. .3-4 


10- 28 

3- 31 


4- 28 


11- 11 

12- 17 


No Rut 




. 4821 .... 
. 4925 . ... 

.4' 13. . . . 




. 4822 

49)6 . . 

4 27 






.4 23 








1948 49 Features 

Completed (47) In Production (5) 

Gray,; Douglas 



. .7. 


. Jan 


.16. .10-21 
.20. . .1-30 


. .5. . 
.10. . 




Drama— Started Feb. 21 

Cast: James Whitmore, Nancy Davis, Gary 

Director: William A. Wellman Producer: Dore Schary 

Story: Voice of God interrupts radio program. 



Title — Running Time Cast Details Rel No Ret. 

<T) Flynn-Stockwell 12-19 

(ing Soloman's Mines (T) Kerr-Granger 11-7 

Life of Her Own. A Turi:er-Corey 2-13. . 

"Sight Cross Powell-Montalban 2-13 

COMPLETED 1949-50 

Adam s Rib (101) Hepburn-Tracy 6-6 

\mbush (89) Taylor-Hodiak 6-20. 

»nnie Get Your Gun (T) Hutton-Keel 10-24 . 

Asphalt Jungle Hayden-Hagen 11-21.. 

battleground (118) Jonmon-Hodiak 4-25. 

Big Hangover. The Taylor-Johnson 8-29 

Black Hand. The (90) Kelly— Celli 8-15 

Details under title: Thp Knife 

Blossoms In The Dust <T) Gaison-Pidgeon Reissu? . 

lorder Incident (92) Murp'y-Montalban 2-14. 

Challenge to Lassie (T) (76) Gwynn-Lassie 1-7 . 

Conspirator. The (87) Taylor-Taylor 11-22 

prisis Grant-Ferrer 1-16 

►evil's Doorway Taylor-Raymond 8-29 

Pink Stcver (T) Stockwell-Bcckett 9-26 . 

loctor and the Girl, The (98) Ford-Leigh 5-9 . 

Details under title: Bodies and Souls 

•uthess of Idaho (T) Wi'li=im'.-Johnson 11-7.. 

East Side. West Side (108) Stanwyck-Mason 8-1 . 

: ather of the Bride. The Bennett-Tracy 1-30 

ntruder in the Dust (87) Jarman-Brian 3-14 . 

lohnny Eager (107) Turner-Taylor Reissue . 

<ey To The City (100) Gable-Young 8-1 . 

nalaya (96) Tracy-Stewart 2-28 

Details under title: Operation Malaya 

llniver Sequel, The Garson-Pidgcon 10-10 

dystery street Montalban-Forrcst . . .11-21 

lancy Goc, to Rio (T) (93) Sothern-PoweM 7-18 

In the Town (T) (98)) Sinatra-Kelly 4-11. 

utridcrs (T) McCrea-Dahl 8-29.. 

loase Believe Me Kerr-Johnson 8-1 . 

ed Danube, The (119) Pidgeon-Barrymore 3-14 . 

eformer and the Redhead Powdl-AI'yson 10-10 . 

hadow On The Wall Sothrrn-Scott 4-25.. 

ide Street (83) Grainger-ODonnell 5-9.. 

kipper Surprises His Wife, The Walker-Leslie 11-21 

tars in My Crown McCrea-Drew 6-20.. 

ummer Stock (T) Garland-Kelly 12-5.. 

ension (95) Totter-B'asehart-Charrise .6-6.. 

hat Forsyte Woman (T) (112) . Garson-Flynn 1-3.. 

hat Midnight Kiss (T) Grayson-lturbi 1-17 . 

hree Little Words (T) Astaire-Skelton 12-19 

toast of New Orleans. The (T) Grayson-lanza 1-16 

ht Lan.arr-Hodiak 1-16 . 

ellow Cab Man, The (85) Skelton-Beckett 9-26 . 

June . 

. Aug . 

. Feb 
. Dec. 
Jan . 


. Dec. 

. fVav, 

. May 


. Feb. 







. .9. 10-24 


.18. . .2-13 
.12. . .1-16 

.19. . .2-13 

.4. . .9-25 

. .i-2 


. .11-7 



1949 50 Features 
Allied Artists 


( 5) 
( 8) 

In Production 
In Production 
In Production 




:omedy Started March 1 

ast: Joe Kirkwood, Leon Errol, Robert Coogan, Lois Collier 
director: Jean Yarborough Producer: Hal Chester 

«>tory: Another In the Joe Palooka series. 


COMPLETED . 1949-50 

Title — Running Time Cast Details Rel. 

Blonde Dynamite Garcey-Hall 12-19 .2-12 

Blue Grass of Kentucky Williams-Nigh 10-24 . 1 22 

Frther Makes Good Walburn-Stuart 2-27... 2-19 

Fence Riders Wilson-Clyde 12-5 . .2-17 

Gun Roar in Rockhill Wilson-Clyde 2-13 . 4-9 

High Stakes Gorcey-Hall 2-27 

Jiggs and Maggie O.t West Yule-Riano 4-23. 

Joe Palooka Mee:s Humphrey KirkwoDd-Errol 11-7 ...2-5. 

Killer Shark McDcwell-Norris 11-21 3-19 

Modern Marriage. A Clarke-Field 2-13 

Mystery of Eurlcsq::e Marsh-Prrlwee Fore gn . .4-18. 

Over the Bo-der C8) Brown-Terhune 12-19 3-5 

Details under ti le: Rearing Trails 

Six-Gjn Me;a Brown-Ttrhune 4-30 

Square Dance Katy Vague-Davis 3-25 

Details under title: Murder in the Air 

West of Wyominj Brcwn-Davis 2-19 

Young Daniel Boone (C) Brice-Miller 2-26 


Angels in D sguire (63) Gorcey-Hall 7-4 

Black Midnght (66) McDcwall-Thomas 7-4 

Bumba on Pa;ither lsla: d Shefficl i-Beebe 10-10 

Haunted Trails (60) Wilson-Clyde 7-4 

Jiggs and Maggie in Jackpot Jitlers <C6< Yuic-Rano 7-4 

Lawless Code (58) Wakely-Taylor 

Masterminds Gorc.y-Hall 

Range Land (.6) Wilson-Browne 

Riders of the Dusk (57) Wilson-C yde 

Roaring Westward (55) Wakejey-Iaylor 6-20 

Woll Hunters. The Grant-Clayton 9-12. 


Massacre River (78) Madlson-Calhojn 

Details under title: When a Man s a Moil 

My Brother Jonathan (105) Denlson-Gray Foreign 

Slampede (78) Cameron-Storm l.J-25 

There's a Gill in My Heart (86) Jian-Fynn 8-1. 


. 4901 . 


4 41 



.'.907 . 




. 10-2 . 

11- 20 

12- 25. 
• 9-4:. 


:4843 . 


. 4845 . 


9-27 . . 7-20 9 

. . 8-1 


ms .-. 

16 12-19 


1949-50 Features 

Completed (25) In Production (2) 




T i He— Running Time Cast Details 

My Friend Irma Go:s West WiVn-Lund 2-. 

Union Station Hn'den-Fitzrerald IN- 
COMPLETED . 1949-50 - 

Appointment wih Danger Ladd-Calvert 8-15. 

Details under title: Postal Inspector 
Captain China Payne-Russell 4-25 

la-'t'-Hendrix . .2-28 

Pa- ne-Flenino 8-15 

Hope-Ball 7-4 

Captain Carey. U.S.A. (83) 

Chicago Deadline (87) Ladd-Rced 

Details under title: One Woman 

Copper Canyon (T) Milland-lamarr 4-25 

Dear Wife (88) Ho!den-Cau:f)eld 1-17 

Eagle and the Hawk, The (T) (104) 
Fancy Pants (T) 

Details under title: Where Men Are Men 

Furies, The Stanwyck-Corey ... 12-5 

Heiress, The (115) deHavillnnd-Clift 7-5 

Lawless, The 

Details under ti le: Outrage 

Let's Dance (T) 

Mr. Music 

No Man of Her Own (97) . . . 

Details under title: I Married 

Paid in Full (105) 

Place In The Sun, A 

Red. Hot and Blue 81 

Riding High (112 

Rope of Sand (105) 

Samson and Delilah (T) (128) 




. 2-50 . 




.12-49 .4924. . .9-12 

uetalls under title: Abigail, Dear Heart 

Sonset Boulevard 

Thelma Jordon (100) 

Top 0' the Morning (99) 


11-7 . 

. Hutton-Astaire 

. . . .7-18. 

Crosby-Huisey ... 


Stni:wyck-Lund . . . 


. 5-50 


. . 2-27 




. . 3-50 



. Cl'ft-Winters 

. .10-24 


. . . 1-31 . 



. . 7-1 








. .9-23 


. . 7-4 

. . 10-25 . 


Fontaine— Cotten 






. . . 4-25 . 



. . 1-50 



Crosoy-Blythe . . . . 


. . .9-5. 





Title — Running Time Cast 

Bank Dick (72) Flelds-Merkel 

Double Alibi (61) Morris-Lindsay 

Dracula's Daughter (71) Kruger-Holden ... 

Frisco Sal (94) Foster-Bey 

Fury At Sea (92) Tone-Carroll 

Legion of Lost Flyers (63) Lund gan-Carson 

Never Give a Sucker an Even Break (7) . . Fields- Jean 

Might Monster (72) Lugosl-Atwlll 

Spy Ring (61) Wymnn-Hall 

Sun Never Sets. The (96) 

You Can't Cheat an Honest Man (79) 

letalls Rel. 

8-49 . 

8-49 . 

7-49 . 






8-49 . 

Falrbanks-Rathbono 9-49. 

Flelds-Bergen 10-49 

il A R C II 13, 1950 



1949 50 Fea 4 ure s 

Completed (17) 
Completed (0) 
Completed (11) 

In Production (2) 
In Production (0) 
In Production (1) 


Ralston, Walter Brennan, Maria 


Drama— Smarted Feb. 28 
Cast: John Carroll. Vera 

Director-Producer: Allan Dwan 

Story: Not available. 


Western— Started March 3 

Cast: Rocky Lane, Eddie Waller, Byron Barr, Lynn Thomas 
Director: R. G. Springsteen Producer: Gordon Kay 

Story: Not available. 



' lil t HtH.HO> I IBS! 

Va'e Pelice Pa:ro! 

«. « aMPLETED 
w.iMi CaVay 

'x-Hfi. n* . . 

■ell* of OK Mtxiso (Tr) 

tells of C^-ttadt (Tr) 

Ftdtml Artntt at Lara* 

NflrtiH Ktatteklan. The (100) 

•trait andar title A Strange Caravan 
Canasta tr Abilene 

Hllli of O'hhoma 

Ild Tata Cleveland, Tht <S9) 

Mtr.aar Marshal 

Pat of MI*sino Men 

Pnwdor River Rattlers (60) 


(110) ).. 







. 2-27 . 




. Garrall-Mara 





Rogers- F vans ... 


. .1-8. 






Ta' lor-°atrick . . . . 



.4 11. . 

Wayae-Rtlittn . . . 

. 3-28 

. 10-5 



..ts-i Wa'tfr 




. M!<>n-R sdon .... 




.' .9-5 

.4' 01 


. Hale-Hurst 




. "t n n*— Towers 







. . .11-7. 

Tueker-Mara .... 

. . . ; -12 . 








! -23 





Reck Island Trail 

S I" la't. Raders 
Sands at Iwo lima 
~tav:ite I arde, The . . 

Details aider title: 
Slnal • G ins (C) . . 

Sot»a of Rle line r -23 

Tarnished Patr-ck-lydon . 11-21 

Tr ft r. Jr Roiers- E»ans T"-! " . 

Tv/Ulght In tha Sle-ras Rontrs-Evans 10-10 

Ui Fu'ler-Rockwell 10-C4 






*!'»« the Champ Roekwel-George 

Bawn Dakota Way (Tr) (67) Rogers-Evans 3-28 

Fla»e of Youth (60) FiKar-Naian 6-20 

Details onder ' 1 1 ' e : Hioh School Daughters 

Golden Stallion. Th« (Tr) (67) Rogers-Evans 5-23 

•Jaaaja Trail Raiders lane-WrJ'er 8-1 

Pott OSes Investigator (60) Do glas-Long 6-6 

danger of Cher'-kee Strip Hale-Hurst 8-15 

San Antone Ambush Hale-Hurst 8-15 

Worn n t orn Headquarters Husion-Rockwell 1-30. 


817 . . 
843 .9-26 
816 10-10 



.11-4 .856 



815 10 13 


1949 50 Features 

Completed (48) In Production (6) 


Drama— Started Feb. 27 

Cast: Jane Greer, Dennis O'Keefe, Lizbeth Scott 

Director: John Cromwell Producer: John Houseman 

Story: Girl tries to rehabilitate herself after release from prison. 



Title— Rannlng Time Cast 

Alas Mike Fury Rendix-Matur e 

Runco Squad c ter]ing-Dixon 

I t Pilot 'T> Wayne-Legh 

Nobody's Safe Andrews-Powers 

Story of a Divorce Davis-Sullivan 



tig Steal. Tha (71) Mltehum-Bendlx 1-17. 

Stagteeaeh Kid (60) Holt-Donnell 11-8 




. . 12-19 

2-27 . 



6 2n 



Easy Living (77) Mature-Ball 7-19 8-2i 

Derails under title: In'erttrence 

Follow Me Puietly (59) Lundigan-Patrick 8-30 7-lg 

Make Ulna Laughs (64) Lamb-Lanoford 5-23 8-1, 

Mysterious Desperado (61) Holt-Martin 4-11 

Savage Splendor (T) (60) Travelogue 8-1 


Aretle Fury (61) 

Strange Bargain (68) 

Details under title: Sam Wynne 

Masked Raiders (60) 

Thty Live By Night (95) 

Details under title: The Twisted Road 
Woman On Pier 13 (73) Day-Ryan 

Details under title: I Married a Communist 

Cambre-Miller 10-10 

Lynn-Seott 12-6 10-10 

Holt-Martin 6-21 10-10 

O'DsnneM-Grangor 7-7 7-5 

.5-9 10-10 


Dangerous Profession (79) Raft-O'Brien 5-9 1 

Details under title: The Bail Bo, id -tory 
Holiday ARair (87) Mitchum-leigh 8 1 12j 

Details under tide: Christmas Gift 
Riders of the Ranje (60) Holt-Martin 5-9 

Throat, The (66) O'Shea-Grey 6-20 Uj 

Details under title: Terror 


Alia* In Wonderland (T) Disney Cartoon . 

Arizona Ambush Holl-Maitln 7-4 

lad of Rosas Fonta'ne-Ryan 7-4 

81'nd Spot Colbert-Ryan 11-7 

Capture. The Ayres-Wright 8-29 

Carriage Entrance Gardner-Mitehum 10-10 1 

Code 3 McGraw-Jtrgens 1-30 

Come Share My Love Dunne-MacMurray .12-19 

Dynamite Trail Holt- Martin S-26 

Edge of Doom Andrews-Granger 12-3 

Gun Thunder Holt-Martin 10-24 

It's Unly Menay Slnatra-Rasstll 12-6 

Mad Wednesday 80/ lloyd-Walbarn . . lO-i 

Rev under t.ilt: Sin of Harold Dlddltbock 

Our Vary Own Granger-Blyth 9-12 

0. tails under title: With All My Love 

lit lew The Re. .el I- Bee LI 

f aage War Tel I- Mart in 8-1 

Sons of the Musketeers (T) Wilde-O'Hara 1-2.. 

Strtaaoli Bergatan-Vltale .. 

Detail, andar title: After the Storm 

Tarzan and tha Slave Girl Barker-Brown . . . 

Treasure Island (T) Driacell-Newten . . 

Hater Arliena Skits, 

Ytodttta DeGaargr-Brtoks 

Wee* la Man Ce-tea Vol 1 1 

White Rose for Jalie Mitchum-Domergue 


. 5-9 


8- IV 

Valll-Ferd 8-29 

White Tower, The (T) 


Cinderella (T) (70) Disnty Cartoon Fe 

lihahod aad Mr. Taad <T> (68) Dl.ney Carteon .. 

Man on the EiStl Tower (T) (97) Tene-Laughton 

Mighty Jaa Yeeng (94) Jehmen-Arautrang 

Detail andar title Mr. Jet. Yoang at Atrir-a 

M> Foolish Heart (99) Andrtwi-Hayward . 

Roseaina MeCoy (8?) Grangar-Evant ... 

Ska Wart a Yallaw Ribbon (T) (103) Wayat-Dra 

1-5 . 

. . .7-4. . 
.11-22. . 




Completed ( 6) In Production (0) 



Title— Riming Time Cast Details 

Fallen Idol, The (94) Rirhardson-Morgan Foreign. 11-15 

Gone To Earth (T) Jone'-Farrar Foreign 



Third Man, The (104) Cotten-Va'li Foreign .1-15 2 




1950 Features 
1949 Features 

Completed (23) In Production 
Completed (44) In Production 




Tile — Running Time Cast Details 

Rawhide . Power-Hayward 1-30 

Where the Sidewalk Ends Andrews-Tierney 1-30 

00 r . 



COMPLETED 1949-50 

Big Lift, The Clift-Douglas 8-1. .. May 

Details under title: Two Corridors East 

Black Rose. Tht Power 5-23 

Broken Arrow (T) Stewart-Paget 6-20 ...Jon. 

Details ander title: Arrow 

Cariboo Trail. The Scott-Williams 9-12 

Cheaper By The Doztn (T) Crain-Wcbb 11-7 ...Apr. 

Comt To Tht Stable (94) Youno-Holm 1-3 Sep 

Dakota Lil (C) (88) Montnomery-Windsor Feb. 

Dancing in the Dark (T) (92) Powoll-Sttvens 4-11... Jan. 

Details under title: The Bandwagon 

Everybody Does It (98) Darnell-Douglaj 3-14 ..Nov. 

Fan, Tht (79) Grain-Sanders 7-19 Oat. 

Fighting Man of the Plains (C) (54) . . . Scott-Jory 6-20 . Nov . 

Fireball, The 

Details under title: The Challenge R"ony-Tyler 1-30 

Gun Fighters. The Peek-Parktr 10-10 

I Was a Malt War Bride (105) G-ant-Sheridan 11-8 ..Sep 923. 

Love That Brute Peters-Romero 7-4 

Details under title: Turned Up Toes 
Mother Didn't Tell Me (88) McGulre-Lundlgan 6-20 . . Mar ... .006 . . 

Details under title: Oh, Doctor! 

My Blue Heaven (T) Grable-Dalley 12-19 

Night an* the City Tier ney-Widmark 8-29 ... Jon 

No Way Oat Darnell-Widmark 11-7 

Oh Yn, Beautiful Doll (T) (93) . Widmark-Bel Geddes ... 1-2. 

Outbreak Stevens-Haver 1-3 

Pinky (102) Craln-Lonellgan 3-28. 

Prince of Foxos (107) Power-Hendrlx 11-8 

Thieves' Highway (94) Conte-Oakle 11-22 

Details under title: Hard Bargain 

Three Came Home (106) Colbert-Marshall 5-9 

Ticket to Tomahawk (T) Dailey-Baxter 8-29 May 

Twelve O'Clock High (132) Peck-Mitchell 5-9 Feb 

Under My Skin Garflcld-Prelle 10-10 ..Mar 

Details under title: Big Fall 

Wabash Avenue (T) Grable-Maturo 6-6 . Apr . 010 . . . 

When Willie Comes Marching Home (82) Dalley-Calvet 7-4 . Feb 003 J 

Whirlpool (97) Titrnoy-Conte Jaan 002. .1 

.Nov 927. . .! 

.Nov 931. .11 

Dee 929 . . 

Oct 924 . .. 





19 19 55) Features 

Comp'et?d (21) In Production (1) 



Drama— Sta-ted Feb. 16 

Tast: Emlyn Williams, Eve Arden, Howard da Silva, 

rick, Billie Burke 
Director: Irvin^ Reis Producer: I. G. 

itory: Not available. 


— 1949-50 

Ruth War- 


Title — Rtnnlng 

idmiral Was a Lady. 
Details under title: 
f Wheel, Tin (92) 
lack Ma ( le (105) . . 



The Iron Ca;e 




Rooney-Mitchell 7-4 11-5 

Wcilea-Guild A g 



. Kr 

Si I 

liampagne (or Caesar Colman-Holm 8-2° 

•tdry It flit Ftmale (S4) Cumm ns-Dall 7-4 

. •. A TBrien-Britton T-J2 

"en Young-Drake 11-21 7-7. 

Details under title: Here Lies Love 

■at tf tht Brut (85) Edwards-Bridges 3- t 1-17 

dlan Stout (71) Mon'.gomtry-Drew 7-5 1-7. 

tauols Trail, Tht Montgomery-Marsh,- II 10-24 .6 17 

■any Holiday Btndix-Martin 8-1 .2-18 

kRly Ott-tr* O'Brien-Morris 5-5 

m Far Ctrl Us (88) Ttmplt-Nlvtn 7-4 11-25 

y* Hippy (91) Ma x Bros 8-2 3-3 

••tails ind*r tltlt: Blonde Heaven 

in, The Brando-Wright 11-21 

•r*. Mike <S9) Powell-Ktyes 7-4 12-17 Bis 

iice A Thief Hendrix-O'Brien 1-2 

Details under title: Once Over Ligh'.ly 

Itluind Rocney-Lorre 3-28 3-2" R-S 

Young, So Bad Henreid-CcCleod 5-20 Darz 

ipped, The Duryea-storm 9-12 ... .6-3 .... C c; 



. A!c3 . 
. M-L 


1949-50 Features 

Completed (26) In Production (4) 




Tltlt — Rinnlng Tint Cast Details 

! «» Byinjton -Reagan 2-13 

and Pa Kettle Bac'jt Home Main-K: br:dr 2-27. 

flier's Ko:n Tcren-Di!F 2-27 

.nche te- 73 Stewart-Winters 2-27. 




. Foreign 


am and Evalyn (£2) Granger-Simmons 

gdad (T) (82) O'Hara-Clrlstian 

lie Lagoon, The (T) (101) Jean-Simmons ... 

rde lire (?8> IK-icMu-ray-Trevor 

career's Girl iT) (77) de;a.-lo-Fr;end 8-15 

main Boyeot' (5<2) Itnie-Kirbv 4-"6 

minohe Territory (T) O'Hara-Carey 8-29 

Details under title: The Bowie Knife 

( fldential Squad Con't-Gray 11-7 

Dttals under title: Web of tht City 

1 tain Call at Cactus Creek O'Cnnno'-arden 2-28. 

Ported Toren-Chandler 10-10 

« le Cro stones (T) O'Connor-Carter 10-10 

it For All (83) Cummings-B ythe 7-4 

'ncis (91) O'CDnnor-Pitts 5-23. 

'■'it (153' •n«ler-H*rlit Foreign . 

Was s Shoplifter Brady-Freeman 11-7 

d From Texas (T) Murphy-storm 6-6. 

i and Pa k>ttle Go To Town (79) . . . Mnin-Kilbridr 8-29 

e-Wav Street Mason-Toren 12-5 

Details under title: Death on a Side Street 

tslde the wall (80) Ba ehar -Maxwell 9-26 

Wed O'Riordans (76) O'Mal'ey-Pate 

\™ (T) Murchy-Htndrlx 9-12. 

Details undtr title: East of Java 

ith Sea Sinner (88) Winters-Carey 7-1 

ry of Molly X. The (100) Havoc-8rady 8-1 

9ht Little Island (81) Radford-Greenwood . Foreign 

dertow (70) Brady-Russell 8-29 

details under title: Frameup 

'man In Hiding (92)) Luoino-Duff 8-15. 

Details under title: Fugitive from Terror 


• ndoned (79) S'orm-OKeefc 

H C Meet the Killer, Boris Karloff Abbott-Costtllo 2-28 

'tie Manhunt (69) Conrad-Thurston 

(■amity Jam and Sam Bass (T) (85) . . deCario-Duft 10-25 

(Istopher Columbus (T) (104) March-Eldredge 

I' Across the Rl»er (90) Curtis-Jaeckel 10-11. 

'•tails ondtr title: Amboy Dukes 

'din', Fussln' and Flghtln' (78 O'Connor-Main 3-1 

>etails under title: The Wonderful Race at Rlmrnek 

t Who Took the West (T) (84) DeCarlo-Brady 2-14 

Mails under title: The Western Story 

■ gal Entry (84) Duff-Toren 12-20 . 

l,nny Stool Pigeon (75) Duff-Winters 4-11. 

Details under title: Partners In Crime 



'. May 



903 2-27 


Now 901 11-21 

Feb 910 .1-16 



Mar 911 

Aur. 914 





Jan 908 1-16 

No* 902 11-21 

.Dec 904 12-19 







. Aug 

May . 695 

July 699 6-6 

Oct 708 10-24 

May 694 

.July. . . 665 . . .6-21 

Sep 9-2' 

. June . . .698. . . * 
. July . . .70*. . . «-'• 

Lady Gambles. The (99) s.anwyck-prtston 12-20 June 

Man-Enter tt Kipj tn (79) aaDu-ragr 12-22... July 

Once More, My Darling (92) Monigo e y-Blyth A g 

One Woman's Story (86) Todd-Rains Foreign June 

Sword in the Dosert (100) Andr ws-McNally 3-14... Oct. 

Yes Sir. That's My Baby (82) 0'Connor-DeHa»en 1-3... Stp. 

Woman Hattr (69) Granger-Ftvillert Foreign ... July. 


693 .5- 
666 ... 7- 


697 6-« 
709 .. . 8-29 



1949-50 Features 

Completed (29) In Production (4) 




2-? 3 

I rk-Mas cy 4-2" - 

Cav s-Cotten 6-6 

Coo er-N al l?-5 

Re ssne 
6 6 
. 12-5. 

. . 11-7 . 

Rti s e 

Tltlt — Running Tim' Cast 

Cip'ain Horatio Ho.nb'o.ver "eck-Mayo 

Lightning Strikes Twice To J d-R man 

Two Million Dollar Robbery, The "ochran-'.ndre 

COMPLETED 1949-50 ■ 

After Nightfall ?ri -n-Reynolds 8-2f 

Always Ltave Them Laughing (11«) Berle-Mayo 8 1 

Backfire CD Lindfors-O'Brien . ..8-16 

Details nnf>r >"t: Somewhere in he It ty 

Barricade (75) 

Beyond the Forest (96) 

Br ght Leaf 

Cagt, Tht --arktr-Moorhead 

Casablanca (102) Bogart- Bergman 

Castle tn tht Htdstn '77) Garfleld-Shtridan 

Chain Lichining (£4) Bog rt-Pa ker 

Colt .45 (T) Seott-Poman 

Daughter of Rosit O'Cray (T) Ha»er-MatRae 

Farewell to Arms (78) Hayes-Coo-er 

Glass Menagerie. The lawrtnee-Wyman 

Hasty Heart, The '93) Re-.gin-Ne?l 

Hatehe'man, Thj (74) Ribinson-Yo'jng 

Hawk and the Arrow, The Lancaste--Mayo 

Hoast Across tht Strttt (69) Morris-Paljt 

Inspector General. The (T) (Ij2) Kaye-Bates 

Dttalls indtr tltlt: Happy Tlmts 
Lady Takes A Sailor, The (99) . . . 

Data lit under title: Octopu* and Miss Smith 

Mon'.ana (T) (76)) Flynn-Srrith 

Ntrth of tht Hit Grande McCria-Nayt 

Details indtr tltlt: Ctleradt Ter itory 

Perfect Strangers (88) Rogers-Morca.i 7-4 

Pretty Baby Sro't-Morgan 1-° 

Rett™ of tht Frontiersmen MacRae-Calhotn 

Sergeant York (134) Cooper-Brtnnan 

Sllvtr Lining (T) ""i-lss 

Stage Fright Wyman-Oletrleh . 

Storm Warning Kogers-R agan 

Details under title: Storm Center 
Story of Seablscolt, The (T) (93) Temple- MeCalllster 

Dttalls under tltlt: Always Sweethearts 

Task Force (116) Cooper-Morris 

Thh Sldt of tht Law Llndfon-Smlth . 

Dttalls under tltlt: "Oeadlatl" 

Undtr Capricorn (T) (117) Bergman-Cttten 

Victim, The Crawford-Brian 

White Htat (114) r a gney-Mayo 5-23 

Young Man With A Horn (112) Douglas-Bacall 7-18 

— — 1948-49 

Wyiran -Morg n 













. 10-22 

. .906. 

. .11-7 



4 9 


. .2-25. . 




. CC9 



1 -lj 

-2 10 


- n 

» ■) . 

12-31 . 



12-24 . 







17 3-13 

4-? 5 





9-27. 10-8 




Colorado Territory (94) MeCrea-Mayo 

Fountalnhtad, Tht (113) Cooner-Healt 7-19 

G-Man (85) Cagney Reissue 

Girl frtm Jonts Beach, Tht (78) Reagan-Mayo 5-24 

Look for the SlUer Lining <T> (106) Haver-Bolger 4-26 

Your Service — Oui Responsibility 


Member Nat'I Film Carriers 

250 N. Juniper St., Phila. 7. Pa. — LOcust 7-4823 


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cooperated with us by putting return trailers in the 
proper addressed containers and for wrapping 
and addressing all return advertising. 

We can serve all theatres better if they give us 
a copy of their program Tuesday each week. 


Don't put your return film in tlie lobby until all your 
patrons hare left after the last show. 


236 N. 23rd St., Phila. 3 — 1239 Vine St., Phila. 7 
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■Allied Theatres of Michigan Poll 

and the Fairest Company of Them All delivers not just words BUT. 



MARCH 27, 1950 


Solon Labels Personal Conduct Of 
Some 'Disgusting'; Calls For 
Ban On low Characters' 

News Story on Page 7 




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Screen play by Devery Freeman and Albert Beich 
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Directed by 

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directed by 

thelma ritter fSor££'£= JERRYWALD BRETAIGNE WINDUI 



Vol. 18. No. 7 March 27, 1950 

Page Seven 

What Are You 
Doing Today 
In the Fight 
Of the Unfair 
Admission Tax? 



FILM BULLETIN — An Independent Motion Picture 
Trade Paper published every other Monday by Film 
Bulletin Company. Mo Wax, Editor and Publisher. 
BUSINESS OFFICE: 35 West 53rd St., New York, 
19; Circle 6-9159. David A. Bader, Business 
1239 Vine St., Philadelphia 7, Pa., Rltten- 
house 6-7424; Barney Stein, Managing Editor; Jack 
Taylor, Publication Manager; Robert Heath, Circu- 
lation Manager. HOLLYWOOD OFFICE: 659 Haver- 
'ord Ave., Pacific Palisades, Calif., Hillside 8183; 
lay Allen, Hollywood Editor. Subscription Rate: 
INE YEAR, $3.00 In the United States; Canada. 
J4.00; Europe, $5.00. TWO YEARS, $5.00 In the 
Initrd States; Canada, $7.50; Europe, $9.00. 


Two weeks ago, a U. S. Senator with an appetite 
for headlines made the front pages with the intro- 
duction of a bill to license the PEOPLE in the mo- 
tion picture industry on the basis of PERSONAL 
CONDUCT! The following day, we imagined that 
a colleague of the Gentleman from Colorado intro- 
duced a similar bill licensing senators and congress- 
men by the same yardstick and that the Gentleman 
from Missistucky paraphrased the speech of the 
Gentleman from Colorado to suit the purposes of 
his measure. Variations of the quotations contained 
in the following dispatch may be found in the Con- 
gressional Record. March 14, 1950. Pages 3332 to 


Washington. Mar. 15 (IP). — In a resounding blast against the "disgust- 
ing conduct" of certain senators and congressmen, Senator Stupeford Snyde of 
Missistucky today introduced a bill to license the personal lives, habits I smok- 
ing, drinking and headline-hunting) and the customs of all members of the 
legislative body. The solon pointed out that his proposed law is based on the 
fact that senators and congressmen are interstate products. 

"The object of this measure," declared Snyde, "is to insure wholesome, 
sensible senators and congressmen and to eliminate persons of low character 
from gaining admittance to this august body. Revenues from the license fees 
imposed by my law should produce revenue of more than $17.63 annually." 
he said. 

The senator, a ranking member of the powerful Committee on Censor- 
ship of Personal Conduct, hurled vitriolic condemnation upon the heads of 
"those members of this body who have wronged their voters by taking kick- 
backs, by padding government payrolls and by robbing the pork barrel. "As 
if this were not enough," he continued. "I am chagrined to point a linger al 
the good senator Sellout of Tennisippi and his shady morals. It i- no secrel 
to anyone in this august bodv that he has been observed going in and out of 
a well-known hotel right here in the shadow of the capitol dome itself, at 
strange hours and in the company of a young woman who is not a young lady. 

"If the Gentleman from Tennisippi feels the urge to go on an immoral 
binge, as a few of us do now and then, he should have respect enough for bis 
position in this august bodv to retire from it and forever remain in retirement. 
Is that asking too much?" 

Hits 'Mad Dogs' 

Warming up to the attack, the irate Snyde struck out with Mill blows 
at the "mad dogs"' of congress, w bo. be shouted, should be "put on a leash!" 

Rising to evangelistic heights of oratory, the senator declared: This 

wicked element in our midst, like the wicked element in I lol l\ \\ ood. for in- 
stance, is totally irresponsible. No one wants to invoke unnecessary blue laws 
and la\ down unreasonable restraints upon human beings, bui it is for the 

(Continued on Page 20) 

The Cover-to-Vover Trade Paper 

There are substantial reasons why exhibitors all over Amer- 
ica (and the subscribers in Canada, Europe, England, India 
and Iceland, too) are agreeable to pay more for a subscrip- 
tion to FILM BULLETIN than for any other of the regu- 
lar film trade papers (only Variety and Harrison's Reports 
get more per copy). The answer is that thousands of 
theatremen do more than just subscribe to FILM BULLETIN 
. . .They absorb it from cover to cover. . .They buy product 
by its production information ... They book by its frank 
reviews . . . They form their views of industry policies by 
its editorial pages . . . They have faith in it . . . They 
regard FILM BULLETIN as the trade paper with something 

Important to say! 


Volume 18. Number 7 
March 27. 1950 

Aeirs and Opinion 


The rootin', tootin' Senator from Col- 
orado seemed a little frightened at the 
deluge that followed his little rain-mak- 
ing pill. 

The film-licensing bill proposed by 
Sen. Ed Johnson (D., Colo.) to save the 
American people from "immorality", pre- 
sented to a Senate which heard the for- 
mer cowhand plough into RKO, Ingrid 
Bergman, Roberto Rosselini, Rita Hay- 
worth, and Eric Johnston, in his attempt 
to make the industry subject to Govern- 
ment censorship, did exactly what the 
Senator knew it would do — give him 
reams and reams of newspaper space. 
The proposal frankensteined, however, 
into fodder for newspaper editorialists 
throughout the country which did the 
Senator no good. 

Most of the comment followed the 
Motion Picture Association's immediate 
denunciation of the Johnson Bill as a 
"police state act". In the Senate itself, 
four Republicans took the opportunity 
to attack the bill and the Democratic 
Senator. Sen. Alexander Wiley of Wis- 
consin declared that the bill would un- 
doubtedly be declared unconstitutional, 
and called for a public boycott of objec- 
tionable pictures and films which fea- 
tured unsavory players. 

Dictatorial Powers 

"To generalize on the individual isolated 
case of 'Stromboli' misconduct and to 
ask that a whole system of Federal reg- 
imentation be set up to prevent such 
comparatively rare abuses is, I believe, 
to commit a grave mistake," Sen. Wiley 
said. "I for one, therefore, would op- 
pose, as I am sure practically every mem- 
ber of the Senate would oppose, this bill 
with its tremendous implications of a 
European police-state, a Soviet-type 
OGPU. The bill would vest in the De- 
partment of Commerce dictatorial pow- 
ers which could mean life and death over 
the entire motion picture industry." 

Commenting on Sen. Johnson's bill, 
National Allied general counsel Abram 
F. Myers said it was "inevitable", point- 
ing to Allied's two-year battle for inter- 
industry as disciplining of erring stars. 
He called the Johnson proposal "the 
Finneran plan put into legislative 
stature", adding that it was a natural 
result because the industry had ignored 
Allied's "constant warnings". 
Boycott No Answer 

Myers also felt that Sen. Wiley's state- 
ment of a public boycott was not a 
satisfactory method of curing the situa- 
tion, reiterating his stand for "internal 
regulation." "I imagine if the industry 
made a real effort to cure these condi- 
tions," Myers declared, "Senator Johnson 
would be satisfied." The latter, ap- 
praised of Myers' statement, agreed that 
"if they do it themselves, that's what I 

Sen. Johnson, however, seemed doubt - 
iful that the industry was capable of 
/adopting a satisfactory code, and said 
that even if the MPAA should make pro- 


Who's a Czar? A Commissar? 

posals toward that end, the hearings on 
the Bill, scheduled for mid-April, "might 
be the proper place to go over it". 

He admitted, also, that the Bill "needs 
considerable legal exploration ' and that 
changes might be made in it by the time 
it comes up for hearing. He noted, how- 
ever, that the "experts" who had draft- 
ed the bill, considered it constitutional. 

"Morals Commissar" 

Eric Johnston's counter-attack to Sen. 
Johnson's Senatorial blast charged that 
the latter was "setting up for himself a 
pretty big job to become commissar of 
the morals of the American people '. The 
public, he added, was qualified to judge 
on the morals of pictures, and "democ- 
racy at the box office" was as much in 
order as "democracy at the ballot box". 

According to the terms of the Bill, "to 
insure wholesome motion pictures for the 
people and to eliminate persons of low 
character from making and appearing in 
films," all actors, actresses, producers 
and distributors would be required to ob- 
tain a Federal license, issued by the 
Department of Commerce, before they 
can appear in, make or distribute a com- 
mercial film. The license would cost $1 
per year for the players, $100 per pro- 
ducer, and $10,000 per distributor. 

Licenses would be denied any of the 
above found guilty of a crime involving 
moral turpitude, or who admitted acts 
constituting the "essential elements" of 
such a crime. A license would be with- 
held, also, from any film with such ac- 
tors, actresses, or producers, or any film 
that could contribute to juvenile delin- 
quency or "encourage contempt for law 
or public or private morality". Penalty 
would be fines of $1000, $5000, or $10,000. 
It was noted , also, by Sen. Johnson 
that the Act would be self-supporting, 
costs being defrayed by the $4,000,000 
estimated revenue from licenses. 


In Chicago a few weeks ago, Charles 
Skouras told almost 400 of the nation's 
top exhibitors, who had assembled as 
guests of 20th Century-Fox for its Show- 
manship Meeting, "You're not kidding 
anyone as to why you're here — you're 
worried!" Mr. Skouras undoubtedly 
knew what he was talking about. Last 
week, when the waves tossed by the 
20th Century rock into the industry's 
troubled waters had spread out to en- 
gulf the nation's exchange centers in a 
series of regional showmanship meet- 
ings, approximately 10,000 worried thea- 
tremen showed up in 29 cities in an 
effort to hit upon means and methods 
of checking the slumping boxoffice. 

Each conclave was a replica of the 
master meeting in Chicago, both in fer- 
tile presentation of ideas and in enthusi- 
astic response by the exhibitors. Each 
was an all-day affair, beginning in the 
morning with a presentation of the fam- 
ed "Showmanship Guide" by a repre- 
sentative of 20th-Fox, then a luncheon, 
with speakers and an open forum in the 
afternoon. It didn't end there. In the 
evening, the hosts wined and dined the 
theatremen and invited them via sneak 
previews to view as sample of what its 
"Movies Are Better Than Ever" slogan 
stands for. 

Without exception every meeting drew 
a greater turnout of theatremen than was 
expected. In many cities howling snow- 
storms and rainswept streets did not pre- 
vent the theatremen from being on hand, 
although several openings were delayed 
until the latecomers straggled soggily in, 
often after traveling hundreds of miles 
for the occasion 

Despite the inclement weather, more 
than 1100 jammed the grand ballroom of 
the Hotel Astor last Thursday to hear 
Mayor William O'Dwyer, 20th-Fox pres- 
ident Spyrous P. Skouras (by cable), 
vice-president Andy W. Smith, Jr., and 
other prominent industryites reiterate 
their confidence in the future if films 
return to aggressive showmanship to 
bring moviegoers back. 

They heard Mayor O'Dwyer place 
moviehouses' standing in the community 
and their influence on the citizens to 
schools and churches as disseminators of 
education, information and a force for 
good. They heard, also, the principles 
of basic showmanship presented at the 
Chicago meeting reiterated by Messrs. 

(Continued on Next Page) 

REVIEWS in This Issue 

Stage Fright u 

The Hangover 11 

The Golden Twenties 1 1 

Tarzan ;m<l the Slave ( ■ >i-l 12 

Singing (;uns \ i 

Tarnished L2 

Love Happj ir> 

Sarumba 15 

Messenger <>t Peace 15 

i\t>u?s and Opinion 


They Curried Off the Oscars 

(Continued from Preceding Page) 

Skouras and Smith, division manager 
Martin Moskowitz, branch head Sam 
Diamond, Harry Brandt, Leo Brecher, 
Wilbur Snaper, Louis Nizer, Spyros 
Skouras, Jr., and many others who were 
present at the initial meeting, relate with 
enthusiasm and conviction their praise 
of the back-to-showmanship movement 
instituted by 20th-Fox. The open forum 
in the afternoon, with Fred Schwartz as 
moderator, culled a wealth of additional 
ideas to swell the showmanship snowball 
started in Chicago. 

In Boston, the principles crystallized 
into a concrete drive as more than 503 
exhibitors from four New England 
states approved plans to form an organi- 
zation to press the institutional ad cam- 
paign suggested by 20th-Fox, with the 
slogan, 'Movies Are Better Than Ever". 
Martin Mullin, who acted as co-modera- 
tor, with Sam Pinanski, was named 
chairman. The meeting also approved 
creation of a committee of New Eng- 
land theatre admen to work in coopera- 
tion with distributors' exploitation field 
men, engaged an ad expert for full time 
work on the campaign. 

The Rhode Island exhibitors, it was 
disclosed by Ed Fay, of Providence, will 
each contribute $10 weekly for an indefi- 
nite period to finance the institutional 
advertising in the State's newspapers, to 
be matched dollar-for-dollar by 20th-Fox 
as promised at the Chicago meeting by 
advertising manager Jonas Rosenfield 
and affirmed at each of the regional meet- 
ings by Fox .representatives. 

Among the 20th-Fox home office repre- 
sentatives and field men who traveled to 
all parts of the country to address the 
meetings were Al Lichtman, Los Ange- 
les; Rodney Bush, Philadelphia and Pitts- 
burgh; Jonas Rosenfield, Dallas; W. C. 
Gehring, New York; Sam Shain, Memphis 
and New Orleans; Abe Goodman, Albany 
and New Haven; Herman Wobber, San 
Francisco; Al Palca, Atlanta and Char- 
lotte; Roger Ferri, Boston; Dave Golding, 
Buffalo; Ed Solomon, Cleveland and Cin- 
cinnati; Lem Jones, Des Moines and Oma- 
ha; Ira Tulipan, Detroit; Earl Wingart, 
Indianapolis, Minneapolis; Ted Tod, St. 
Louis and Kansas City; Stirling Silliphant, 
Washington; Ed Yarbrough, Salt Lake 
City, and Jimmy Gillespie, Oklahoma City. 


-Best picture: Columbia's "All the 
King's Men." 

— Best actor: Broderick Crawford in 
"All the King's Men." 

— Best actress: Olivia de Havilland in 
Paramount's "The Heiress." 

— Best director: Joseph H. Mankiewicz 
for 20th Century-Fox's "Letter to Three 

That's how they finished in the Oscar 
derby, traditional gauge of the film in- 
dustry's efforts each year, and the favor- 
ites came in just as expected. The 1949 
Academy Awards saw a veteran of 29 
years in pictures, Crawford, make the 
grade in his first role in a big-time pro- 
duction, and Miss de Havilland, a two- 
time winner ("To Each His Own" in 1946 
as best actress) and runner-up last year 
for her "Snake Pit" performance, copped 
the Oscar easily for her exceptional work 
in "The Heiress." 

Top honors for supporting work went 
to Dean Jagger for 20th-Fox's "Twelve 
O'Clock High" and to Mercedes McCam- 
bridge for her initial screen role in "All 
the King's Men." 

Mankiewicz turned out to be the only 
double winner of the evening, adding to 
his director's Oscar, the gold statuette for 
best original screenplay. 

In winning best picture honors, "King's 
Men" beat out "Letter to Three Wives," 
"The Heiress," "Twelve O'Clock High" 
and M-G-M's "Battleground." 

Several special awards were awarded: 
Cecil B. DeMille for "35 years of pioneer 
leadership in the motion picture field;" 
"Bicycle Thief," most outstanding foreign 
language film; Jean Hersholt for his many 
outstanding contributions to the film in- 
dustry; Bobby Driscoll for most outstand- 
ing juvenile performances in "The Win- 
dow" and "So Dear to My Heart;" Fred 
Astaire for "raising the standards of all 
musical pictures through his unique dance 

Other awards included: 

Best song from a film, "Baby, It's Cold 
Outside," (M-G-M's "Neptune's Daugh- 

Best cartoon, "For Scent-imental Rea- 
sons," Warner Bros. 

Best one-reeler, "Aquatic House Party," 

Best two-reeler, "Van Gogh," Cinema 

Best motion picture story, "The Stratton 
Story," M-G-M. 

Best cinematography (black and white), 
"Battleground," Paul C. Vogel. 

Best cinematography (color) "Shei 
Wore a Yellow Ribbon," RKO-Argosy, 
Winton Hoch. 

Best sound recording, "Twelve O'Clock 

Best art direction: black and white, 
"The Heiress"; color, "Little Women' 

Costume Design, black and white, "ThQ 
Heiress"; color, "Adventures of Dor 
Juan," WB. 

Documentary short subject — Tie be' 
tween "A Chance to Live," March of Time 
(20th-Fox) and "So Much for So Little' 

Documentary Feature, "Daybreak ir 
Udi," British Information Service. 

Special Effects Award, "Mighty Jot 
Young," RKO. 

Best Editing, "Champion," UA. 


The head-to-head planning on a pictur 1 
by producer, distributor and publicisl 1 
from the early script conferences, throug) 1 
all phases of production and, finally, dis 
tribution, is what is needed to apply th 1 
kind of showmanship that pays off. Sue. 
was the pronouncement of David A. Li[ 
ton, Universal-International national direi 
tor of advertising, publicity, and exploit? 
tion, at a trade press conference in U-I'i 
home office soon after his arrival in Ne\ 

It is this policy of continuous liaiso 
between the film-maker and the film-sel 
er, Lipton declared, which enabled U 
to start selling "Francis" from its ver 
inception, and resulted in a merchandi 
ing campaign which is making the fill 
one of the company's best grossers. Tr 
campaign on "Francis," he added, is vit; 
to the entire industry "because it demoi 
strates that showmanship pays off," ar 
illustrates how long-range planning ca 
enable a film to utilize its greatest pote:. 

The U-I ad-publicity chief spends muc 
more time on the West Coast than 1 
does in the Eastern home office, actir 
as a personal liaison between productic. 
and promotion on his periodic trips to tl 
distribution headquarters. 

The "creative" planning which is sue 
an important factor in showmanship j 
noticeable particularly in small towr 
Lipton said, where "variations in boxoffi 
figures are simply astounding when Vi 
do something the right way." Showmaj 

(Continued on Page 1 


"The greatest disaster that ever 
hit this industry was the day the 
distributor stepped into exhibition," 
William Goldman, prominent circuit 
operator famous for his tenacious 
battle for divorcement and his suc- 
cessful struggle against the Warner 
first-run monopoly in Philadelphia, 
told 418 exhibitors at the 20th-Fox 
Showmanship Meeting in Philly. 
Goldman claimed the entrance of 
film distributors into the theatre 
field was the principal factor in the 
boxoffice decline. He said the re- 
sultant "absentee management," 
with its automatic, impersonal oper- 
ation of theatres, and Ihe "milking" 
of product in distributor-owned first- 
runs, caused independent exhibitors 
fo "run anything they could get their 
hands on." The necessity of tilling 
in time with poor pictures, he said, 
led (o discouragement of the movie- 
going habit and to the current sad 
sla(<- of the boxoffice. 




Rates • • + generally; less in small towns 

Warner Bros. 
110 minutes. 

Jane Wyman, Marlene Dietrich, Michael 
Wilding:, Richard Todd, Kay Walsh, Dame 
Sybil Thorndike, Alistair Sim, Miles Mal- 
leson, Hector MacGregor, Joyce Grenfell, 
Andre Morell, Patricia Hitchcock. 
Directed by Alfred Hitchcock. 

Traditionally the master of suspense, 
Alfred Hitchcock's stamp is evident 
throughout "Stage Fright." There are 
multitudes of those touches in this melo- 
drama, and the result is adequate suspense 
drama. But, Mr. Hitchcock has also lard- 
ed his film with a lot of talk, much of it 
. superfluous, and he has lingered lovingly 
but too long on various characterizations 
so that there are many moments which 
will seem tedious and drawn out to aver- 
age moviegoers who are accustomed to a 
greater amount of action in films of this 
type. Consequently, "Stage Fright" is 
likely to garner varying reactions, the best 
coming from discriminating patrons who 
will appreciate the wealth of subtleties in 
characterization and dialogue, the worst 
coming from those who look for moving 
pictures to move. Even the former, how- 
ever, may find the 110-minute running 
time overlong; the others certainly will. 
Although the film was shot in England 
with an all-British supporting cast, the 

American principals should carry enough 
weight to offset any British flavor that 
might accrue detrimental. Jane Wyman, 
Marlene Dietrich and Richard Todd, 
whose appearance in "The Hasty Heart" 
has zoomed him to popularity, are names 
that should look good on any marquee. 
Best returns should come from class hous- 
es in metropolitan centers. It will be 
weakest in small towns and lesser nabor- 
hood spots. 

Finely etched portrayals are delivered 
by the entire cast under Hitchcock's guid- 
ance, right down to the last bit. Miss 
Wyman, as an amateur actress who be- 
comes enmeshed in a murder in an at- 
tempt to help a friend, uncorks a well- 
shaded, versatile and highly sympathetic 
performance. Miss Dietrich is properly 
sexy and cruel and Todd reveals that his 
acclaimed "Hasty Heart" portrayal was 
no flash in the pan. Of the British names, 
Michael Wilding has had some recognition 
in this country and makes a thoroughly 
likeable detective. Despite the high qual- 
ity of the principals' efforts, it is Alistair 
Sim who runs off with the acting laurels. 
Sim's characterization as Miss Wyman's 
eccentric father, whose pixilated exterior 
covers a wealth of wisdom, is a real gem. 
Director Hitchcock, building to the tem- 
pestuous climax, injects plenty of shocks 
along the way and lightens the tour with 

more than the usual quota of humor. His 
probing camera and striking lighting ef- 
fects further stamp the Hitchcock brand 
on a superior film. 

STORY: Appealing to Jane Wyman 
for aid, Richard Todd tells her a story of 
how he became a suspect in the murder of 
actress-singer Marlene Dietrich's husband, 
in an attempt to shield the entertainer, 
whom he loves. Wyman hides him in her 
father's cottage, then bribes Dietrich's 
maid to let her substitute for a few days 
while she attempts to pin the murder on 
the actress. She also cultivates the friend- 
ship of detective Michael Wilding and finds 
herself falling in love with him. As Wy- 
man begins to make progress in trapping 
Dietrich, Todd runs away and her father, 
Alistair Sim, sets a plan to trick Dietrich 
into confessing before Todd can be caught 
by the police. The plan works and she 
admits to Wyman in her dressing room 
that both she and Todd killed her hus- 
band, a confession which is carried over 
a hidden microphone into the theatre. Still 
believing in Todd's innocence, Wyman dis- 
covers him in the theatre and hides him. 
Wilding, however, has discovered that 
Todd is a killer and tries to warn Wyman. 
Now insane, Todd tries to kill Wyman, 
but she dissuades him and forces him onto 
the stage where he is killed by a falling 
safety curtain. BARN. 


Rates • • + on name values; weak for action houses 


82 minutes. 

iVan Johnson, Elizabeth Taylor, Percy 
Waram, Fay Holden, Leon Ames, Edgar 

iBuchanan, Selena Royle, Gene Lockhart, 
Rosemary De Camp, Phillip Ahn, Gordon 
Richards, Matt Moore, Pierre Watkin, 
Russell Hicks. 

Directed by Norman Krasna. 

Two popular boxomce personalities, 
Van Johnson and Elizabeth Taylor, are en- 
gagingly presented in a pleasant comedy 
that possesses some surprisingly serious 
overtones. These two names alone will 
automatically insure a good turn-out, es- 
pecially from the younger crowd, and, by 
and large, the picture appears to be in 
the winning category. The serio-comic 
vein has been tapped for agreeable results 
by Norman Krasna, who works capably in 
all three capacities of writing, producing 
and directing. An old hand at sneaking 

over a "message" concealed in palatable 
form, Krasna has sandwiched an import- 
ant theme between layers of comic fluff. 
The comedy stems from a hilarious twist 
- about a man with the "world's biggest 
hangover," so sensitive to liquor that the 
merest whiff sends him off on a severe 
jcg. There is even a talking dog involv- 
ed. And the unobtrusive note of serious- 
ness dwells on intolerance in our society 
and, in passing, delivers an aggressive 
poke at the ethics of some corporation 

Of course there is also a good deal of 
rapturous young romance, as practiced by 
two of its most artful exponents. Van 
Johnson is particularly good here in a 
made-toorder part, that of a sincere af- 
fable young fellow with problems. As for 
Elizabeth Taylor, suffice to say that she 
is incredibly beautiful. From the stage 
(Life With Father) Percy Waram supplies 
a good characterization and Leon Ames 
and Gene Lockhart are also well featured. 

Altogether an amiable session of enter- 

STORY: Van Johncon is fortunate in 
having (1) the best scholastic record of 
his law school (2) a fine job in an import- 
ant law firm (3) the affectionate interest 
of the boss' daughter, Elizabeth Taylor. 
But he has a pecuiiar affliction, an allergy 
to alcohol acquired during the w?r when 
he was almost drowned in a cellar full 
of brandy. Elizabeth is sympathetic and 
tries out some amateur psycho-therapy to 
cure him. His illusions about his job are 
shattered when he learns that the firm is 
maneuvering to evict a Chinese doctor 
from a swank apartment. He is furious. 
At an aiumni dinner, one of the lawyers 
slips him a drink and he makes a spec- 
tacle of himself. But then he tells them 
all off for their intolerance and scheming 
hypocrisy. He resigns to take a low-pay- 
ing job with the city attorney and, des- 
pite their quarrel, Elizabeth, eagerly 
plans to be his help-mate. YORK. 


Rates • • as added attraction 

68 minutes 

Commentary by Frederick L. Allen, Ro- 
bert (}. Lewis, Allen Prescott, Red Barber, 
and Elmer Davis. 

Produced by Richard de Rochemont. 

'The Golden Twenties," a nostalgic his- 
orical piece about America's fabulous jazz 
age, subjected by producer Richard de 
Rochemont to an effective March of Time 
documentary treatment, boasts of little 
in the way of boxoffice appeal. However, 
it qualifies as a novelty supplement to a 

M \ R C H 2 7, 1 9 f> 0 

strong top attraction for most situations. 
After some expert clipping of the news- 
reels and motion pictures of yester-year, 
this 68-minute film emerges crammed full 
of interesting and educationally valuable 
facts and scenes with commentary by 
some of the better-informed personalities 
and authorities on the affairs of that no- 
torious decade. The narrators, who col- 
lectively cover all walks of life in the last 
generation, include Frederick L. Allen, au- 
thor and student of that era; Red Barber 
commenting on the prominent figures and 
events in the sports world; Robert Q. 

Lewis, Allen Prescott and Elmer Davis 
handling the remarks on entertainment 
and the social and political trends of the 
time. Their voices will remind adult 
America of the "good old days" when the 
nation rode the crest of unprecedented 
prosperity to the inevitable, devastating 
depression, the interim dominated by Pro- 
hibition and bootleg liquor, the initial pub- 
lic exposure of the feminine leg which 
accompanied the legal emancipation of 
the American woman, necking parties and 
native jazz, and (remember?) the Repub- 
lie.m Party. TAYLOR. 



Rates • • ■+ as dualler for action and rural houses 

RKO Radio 
74 minutes. 

Lex Barker, Vanessa Brown, Robert Ahla, 
Denise Darcel, Hurd Hatfield, Arthur 
Shields, Robert Warwick, Anthony Caruso, 
Tito Renaldo, Mary Ellen Kay. 
Directed by Lee Sholem. 

Even a mite more fantastic than previ- 
ous entries in the venerable Tarzan ser- 
ies, "Tarzan and the Slave Girl" is an en- 
tertaining and often exciting piece of 
jungle make-believe, enhanced by much 
more than the usual quota of flimsily- 
attired, curvaceous lovelies. Principal 
among these is Denise Darcel, buxom 
Parisienne of "Battleground" fame, and 
a new "Jane" in the person of Vanessa 
Brown. In addition, a supporting cast 
which includes such capable performers 
as Robert Alda, Hurd Hatfield and Arthur 
Shields, raises the standard to encompass 
a wider area of the adult audience to 
make this a good bet for the dual bills. 

especially in the hinterlands and the ac- 
tion spots. The new, streamlined Tarzan, 
Lex Barker, has some pretty rugged go- 
ing in this one. Although his battles with 
the jungle beasts are reduced to a mini- 
mum, there is plenty of action and sus- 
pense as he pits his fabulous strength 
and wits against a dread disease, poison- 
dart-blowing savages in wierd camouliage, 
and slave-seeking raiders of a lost Egyp- 
tian-like civilization. The erudite chim- 
panzee, Cheta, is once more in risible 

Miss Darcel gets quite a bit of screen 
footage as a fiery native of uncertain 
ancestry, but some very definite physical 
assets. Alda, Hatfield and Shields, all of 
whom, have, at one time or another, had 
much more prominet roles, are definite 
assets to the film. As in the previous 
entries, however, it is Cheta who runs off 
with the major chunk of entertainment 
the film provides. Lee Sholem manages 
to squeeze out some surprising suspense 
from the outlandish screenplay by Hans 

Jacoby and Ar nold Belgard. 

STORY: When some strangely-gar 
raiders kidnap several young girls from a 
native tribe, Tarzan (Lex Barker) is call- 
ed upon for help. Although he routs th 
raiders, led by Anthony Caruso, a myster- 
ious, paralyzing disease attacks the t rib 
and he seeks aid from a jungle docto 
Arthur Shields. With his half-caste nurs 
Denise Darcel, and his assistant, Robe 
Alda, Shields halts the disease with a se 
um, then takes Tarzan on a hunt for th 
origin of the malady. Meanwhile, th 
raiders capture Darcel and Tarzan's mat 
Vanessa Brown, and take them along wi 
the other girls to be slaves in their hidde 
ancient civilization, which turns out to b 
Tarzan's goal, too. After a series of un 
usual, to say the least, events, including 
being sealed alive in a tomb, Tarzan gets 1 
rid of the wicked influences around the 
king of the lost domain, Hurd Hatfield, 
saves his son's life with the serum and 
releases the slave girls to return to their 
homes. BARN. 

STORY: Monroe is a notorious bandit 
with a price of five thousand dollars on 
his head. He has a million dollars in 
stolen gold hidden in his hideout. In a 
shooting fray, he wounds sheriff Ward 
Bond and brings him to Walter Brennan 
for medical aid. He accepts a drugged 
drink from the doctor and, when he 
awakes, his beard is gone and he has ac- 
quired a new identity. Brennan's motive 
in this is to reform him. While Bond is 
laid up, Monroe takes over as sheriff to 
keep law and order, meanwhile planning |